GH-76091181
content I M P R ESS i o n s A Guggenheim For helsinki 4-7
helsinki five A guggenheim for discovery and exchange 10 - 21
context reactivating the harboursite 22 - 31
S U ST A IN A B ILIT Y Design Intelligence 32 - 37
CONST R U CTION a n d ma t e r i a l i t y a museum out of timber 38 - 45
a d ay ar o u n d t h e g u g g e n h e i m 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 aa t ioll e, haaveilull 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!“
„ It ämeren reunalla viisi puutor nia painautuvat toisiins a muo dos t aen r ant aviivalle hoht avan maamerkin. Monimuotoiset mas s at aikaans aavat vuoropuhelun valon ja varjon välillä, mikä luo inspiroivan ja houkut televan tunnelman välitilojen välähdy s ten kut sues s a kävijöit ä lähelt ä ja kaukaa. Puupaanuisen julkisivun lämp ö ja tunnis tet t avuus luovat tunte en maisemaan kuulumises t a, ikään kuin merituuli olisi puhalt anut siihen hienovar ais t a vär ähtelyä. Helsinki V iisi pyrkii t arjoamaan löy t ämisen tunte en, joka on s y vä os a t aide elämy s t ä, ja rohkaisee läheiseen koht aamiseen t aideteok sen ja kokijan välillä. Se on et simisen ja löy t ämisen, valon ja varjon, laajan mut t a läheisen, sis ä - ja ulkotilan leikki.“ 8
Five timber tower s huddle together at the e dge of the B altic Sea, for ming a shimmering b eacon on the shoreline. Multiple for ms pro duce an interplay of light and shadow that c reate an inspiring, entic ing atmosphere, while glimpses of in- b et we en spaces b ec kon visitor s f rom near and f ar. T he war mth and f amiliarit y of the woo d shingle f aรง ade c reates a sense of b elonging with the landsc ap e, while an ethereal qualit y is expres se d through it s subtle osc illation, r uf f ling, as though br ushe d by the winds of the sea. Helsinki Five se ek s to engage a sense of discover y that is deeply infor me d by ar t , ins tigating close encounter s b et ween ar t work and viewer, b et ween ar t- maker and ar t- making. It is a play of hide and seek , light and dark , wide and c lose, in and out . 9
HELSINKI FIVE – OPEN UP
open up [əʊ.pən ɐp]:
FRAMED VIEW TO THE CITY
(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
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.
INTERPLAY The interplay between buildings, seaside light and landscape create in-between spaces, junctions and nodes that invite visitors and local communities to explore. By responding to the local and urban conditions these transitional junctions become critical moments in a journey around the museum. Conceived as flexible performance and art spaces, where artists can react to the building, the sea, the city, and its diverse users with site-specific installations.
Urban Plaza
Harbour Park Wharf
AN INSTRUMENT FOR ART PRODUCTION
Seeks to tie the waterfront to other areas of the city, such as the marketplace, pedestrian/bicycle paths and adjacent hillside park.
Connections to the site serve to correct the disjointed condition, repairing the broken link of the waterfront circuit.
CITY FABRIC
URBAN LINK
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By limiting the amount of land being used, it enables surroundings to take on their own quality
GIVING BACK
H E L S I N KI F I V E
URBAN BEACON Sitting at the edge of the Baltic Sea, Helsinki Five consists of five single buildings; a juncture that forms a shimmering beacon on the shoreline, greeting visitors to the city. Like a lighthouse it marks place, gives guidance and provides orientation. Like an agora it is a place of storytelling and story-making, of discussion, diversity, and understanding.
A PUBLIC FORUM
AN URBAN BEACON OF DISCOVERY AND DELIGHT
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THE EXHIBITION Three main gallery spaces are provided: the EarthGallery and the Skygallery house the permament Collection with two linkable gallery spaces located in the Performer Tower. The exhibition galleries possess individual characters while still being fully integrated and flexible enough to cope with the challenges posed by the art world. The galleries can be combined and divided as needed with permeable walls that can be added or removed. The EarthGallery is a large horizontal gallery that fills the greater part of the -01 level, forming one continuous exhibition space with varying floor to ceiling heights. Being connected at various elevations within the towers, visitors not only forget that they are beneath ground, but the animated area provides new spatial experiences with every step. Depending on the needs of the exhibition, the EarthGallery can also be divided into more neutral, white cube-like gallery spaces - designed to meet the needs of more controlled exhibitions. While the EarthGallery offers a grand horizontal exhibition space, the Innovators are able to transform this into a vertical composition. Located at the third level, the SkyGallery is formed by a circuit, coursing through the five buildings; large continuous exhibition spaces alternate with balconies that open up to the large vertical volumes of the Innovators. With the lifting platform on the bottom and the movable platforms beneath the SkyGallery, the inter-connected spaces can be adjusted to suit whatever type of installation is commissioned for Helsinki Five. Most importantly, the unique play of architectural characters and interconnectivity challenge artist and exhibition designers to engage thresholds and boundaries between multiple spatial qualities. In addition to these main gallery spaces, there are smaller exhibition units and supporting spaces spread throughout the project on all levels and split-levels. Helsinki Five seeks to engage a sense of discovery that is deeply informed by art, instigating close encounters between artwork and viewer, between producer and respondant.
EARTHGALLERY
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SPECIAL EXHIBITION
ss
Wind Gallery Sky Gallery H E L S I N KI F I V E
VISITOR EXPERIENCE Regardless of how one desires to move through Helsinki Five, each visitor will be submerged in shifting perspectives, engaging in many points of view, as they relate to art, space, context, city and fellow visitor. Offered here, a few instances of how one may discover Helsinki Five:
tour for art lovers is the tour for the For art lovers: This connoisseurs, focusing solely on the unique works of the Guggenheim collection and the exquisite special exhibition. It starts with the Earthgallery, goes up through the Connector and ends in Sky- and Windgallery.
Earth Gallery scaled 110 SKYGALLERY
For the local communities: For those local tour for local communities visitors familiar with the museum, this tour gives you a quick glimpse through the gallery windows at the Interval level while leading you to enjoy a show at the Performance Hall. A peak into the Skygallery with the latest special exhibition before a luxurious stop at the café - soon to be the spot where everyone meets and hangs out.
tour for families
For families: As kids are always impatient to explore and interact, this tour leads through the Earthgallery directly to the education section of Helsinki Five, while the parents can relax and hang out in the café. After the children’s art class has ended, the whole family enjoys the view at the Crow‘s Nest.
EARTHGALLERY
For urbanites: The young urban professionals tour for urbanities just take a glimpse of the art through the gallery windows at Interval level and then continue to a fabulous dinner at the restaurant. Afterwards, this experience is completed with a nightcap at the Crow’s Nest.
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HELSINKI FIVE 1
2 3
5
4
ROOF TERRACE
SKYGALLERY
SPECIAL EXHIBITION
SPECIAL EXHIBITION
PERFORMANCE / CONFERENCE HALL
EARTHGALLERY
THE PERFORMER
view to city
view to harbour
WIND GALLERY
access to all levels
THE CONNECTOR
connection to city
THE INNOVATOR 1
connection to harbour
CROW´S NEST
movable platform public viewing platform view to the park
WORKSHOP
THE INNOVATOR 2
cafe
THE SUPPORTER
Tower1: “The Connector” Facing the city, the first tower comprises the grand
foiled by hints of dark shadow dispersed throughout,
stair case and the elevators. This is the place to
reveals a composition of space that is both foreseen
see and be seen, comprising a new kind of vertical
and unknown. It is this duality that prepares the
promenade. The center of movement distributes
visitors’ minds and senses for encountering the
the visitors to all parts of the vertical museum
works of art. At Ground level in Tower 2, this space
landscape. At the highest point of The Connector,
becomes one of preparation and enticement, and so
the visitors can relax and enjoy the spectacular
serves as the museum‘s welcoming space, integrating
view over Helsinki. Here, visitors can pause and
the central information/orientation desk and
contemplate, while allowing their impressions of the
ticketing counter. Since most of the ground floor
exhibition to be absorbed and reflected upon.
is a public area, stretching inside and outside the building, the ticket counter is integrated naturally
SKYGALLERY
Tower2 and Tower3: “The Innovators”
into the ensemble, and not in a dominant position that
The Innovators are the vertical hub of Helsinki
must necessarily be passed. Even without a ticket,
Five. With heights up to 45 meters, the two towers
many amenities of Helsinki Five may still be accessed;
invite artists from different disciplines to develop
once a ticket has been purchased, the rest of the
installations, performances, and new artistic
building opens up to the visitors.
approaches that negotiate the multiple relationships
The Innovators trigger the curiosity of both visitor
between art, space, and spectator. The overwhelming
and artist to explore the many perspectives, vantage
verticality does not oppress the occupant, but rather,
points, and connections on offer. The vertical spaces
serves to free them, opening up Helsinki Five. These
reach from the foot of the Earthgallery up towards
grand open volumes are accessible from multiple
the light, and, when visiting the Skygallery and
levels, supporting the navigation of the visitors
Windgallery, occupants may once again descend back to
and the accessibility of the works on display. The
the beginning, enjoying various views and completing
continuous vertical flow of space flooded with light,
a natural cycle. The galleries ability to adapt multiple exhibition projects at various scales is
RESTAURANT
expanded by two large reconfigurable platforms. These vertical divisions allow the Innovators to expand and contract, enhancing the capacity for multiple-scenario,
restaurant terrace
multi-dimensional space. Positioned directly below the Skygallery, the first platform engages vertical space in and unparalleled scale. The second platform modulates the spatial connection between the ground level, the Earthgallery and the Interval. When not required, the platform discretely disappears beneath the floor of the Skygallery, further expanding the Innovator’s open-air atmosphere. The two towers are crowned by a seaside lookout atop Tower3. A public accessible lift brings people up to the Crow‘s Nest, an outdoor terrace that boasts expansive views of both sea and city. Tower4: “The Supporter” Tower 4 provides Helsinki Five‘s nurturing programming, including the restaurant, café, library, classrooms, and workshops. On the top level, the restaurant provides a dazzling place for pleasure and conversation with views over the Bay. The large café on the ground floor features extra outdoor capacity, with the ability to stay open late during summer months and become an active part of Helsinki‘s vibrant summer nightlife. The café could also supply small booths throughout the museum’s public spaces with food and beverages to help activate the ground floor and invite people to linger and take a rest, even when not visiting the museum. The shared kitchen in this tower also serves the staff office areas. Tower5: “The Performer” Education and outreach are key aspects of Helsinki Five. The openness of the architectural design should not only trigger diverse modes of artistic production, but also alternative ways of learning and understanding, and above all else, a long-lasting relationship between visitors of all age groups and the artworks exhibited at Helsinki Five. The education areas of Helsinki Five are configured as multipurpose spaces that can accommodate smaller events, lectures, performances, as well as classic museum educational work. At the ground level, the performance hall can host a variety of larger events. As it opens out to the central junction, special spatial arrangements with distinct atmospheres befitting to each respective event can evolve as desired. Tower 5 also provides access to a large outdoor sculpture terrace, with views to the city and adjacent landscape park. From street level, city dwellers and tourists can enjoy small glimpses of the sculpture works as they pass by, engaging an external audience with elements of urban spectacle and
media installation
THE PERFORMER
providing another means of outreach for the museum.
THE INTERVAL The building wants to be discovered. There is always a promise of a new experience ahead. It is a play of hide and seek, light and dark, wide and close, in and out. The interplay between buildings, seaside light and landscape create in-between spaces that invite visitors and local communities to explore. These voids also become critical art spaces, where artists can react to the building, the sea, the city, and its diverse users with site-specific installations. At the heart of Helsinki Five is the agora-like space that both surrounds the five towers and is enclosed by them; here, all paths converge and the separation of inside and outside is blurred. The café, museum shop and the foyer of the performance hall each open into Helsinki Five’s vibrant heart. The junction between the five towers is an interval, marking the beginning and the end of one’s journey. It is at once a point of orientation and a changeable stage open to the public.
hide and seek
hide and seek hide and seek
HIDE AND SEEK
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JUNCTION
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
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CONTEXT
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Suggested Guggenheim Exhibtions and Activities Art and Design Gastronomy Cinema and Theatre Music and Dance Sport National Holidays Other
EVENTS CALENDAR Vernissages of major Guggenheim exhibitions will add an unmatched, international contribution to Helsinki’s cultural event calendar. Further, smaller Suggested Guggenheim events, such as performances, workshops, education programs, and public lectures will make Helsinki and the new Guggenheim a destination for both Exhibtions and Activities Art and Design local and global audiences throughout the year. The happenings of Helsinki Five will become the talk of the town. The openness of the architecture not Gastronomy Cinema and Theatre only allows for a wide range of events, but demands a tying together of art and urban experience as well as a strong connection to local leisure activities. Music and Dance With a unique and diverse event program, Helsinki five can attract a broad spectrum of visitor groups , including those that would not normally go to an art Sport National Holidays museum. While currently cultural and museum activities can be found elsewhere in the city, Helsinki Five will make the southern harbour the destination for Other art and culture.
Introduction The site joins the green finger strategy of Helsinki with the cultural thread of the city, offering an opportunity to link water, green landscape and culture for its citizens. The thread of culture extends from the city centre along the waterfront to and beyond the museum. The thread of green landscape flows from Tähtitorninvuoren Park to the harbour with a new waterfront park. The nexus of these threads is Helsinki Five. This approach to the site serves to correct the disjointed condition of the harbour front, repairing the broken link of the waterfront circuit A series of public and free invitations across the site is a gesture to all of Helsinki. By combining everyday life and special events the site becomes a meeting place. The ambition is to invite people to the waterfront - not only with the museum as an asset but also through extended market hall happenings, cafés and recreational activities along the waterfront and in the park. Tying the waterfront to other areas of the city, such as pedestrian and bicycle paths and the adjacent hillside park. Thus the museum is integrated into the life of Helsinki. The cluster of towers releases space within the agora and the site for interpretation, interaction, and engagemen and enables the surroundings to take on their own quality, whilst respecting the functional needs of the existing Ferry terminals. Beyond the actual exhibition space within, the park and promenade extends invitations to art lovers and families, artists and thinkers, and the local community, offering a rich setting of possibilities. The museum rethinks the traditional remit of the exhibition to also exchange with artistic developments leaving behind the confines of the frame. Helsinki Five dispenses with the cage of the physical exhibition hall, lowering thresholds between inside and outside, open and enclosed. The park extends this play of encounters into the public realm. The threshold between art and city is removed, opening this piece of industrial waterfront to the public, the city, and visitors. The park provides a canvas for artistic interpretation for anyone to visit, bringing the mission of the museum to everyone in Helsinki. And in turn, enhances the museum with a fertile environment for public interaction.
becomes a focal point with long social benches along the edge and with water steps cut into the basin and extending into the water itself for informal seating in the sunniest area on the forecourt. The promenade arena steps and the long seaside harbour bench define the transition between Park and Promenade and are felt as one continuous element along this special route; providing varying sitting and lying spaces to enjoy the view throughout the year. Within his longitudinal space it is also possible to host small concerts and events.
The museum extends into the city, from enclosed interior spaces, to the agora, the forecourt and into the surrounding external spaces that face the city and the harbor. The external spaces comprise three distinct landscape typologies: the Park; the Promenade; the Square. These intertwined spaces refer to the immediate context and the cultural narrative of Helsinki and connect the working harbor, Tähtitorninvuoren Park, and the waterfront. Thus a close connection is created to local activities whilst crafting new opportunities for extending the social life of Helsinki.
The Park The Park’s gentle topography contained within a frame follows the geometry of the existing harbour. Tall grasses embrace and define a series of four distinct clearings in the park for activity or quiet moments. Soft boundaries are integrated into the landscape, allowing nature to encroach upon it in a manner that allows the new museum to be appropriated by the city. Here the ethos of Helsinki Five extends to the public realm, infixing art with everyday life. The clearings become a potential medium and display of art, performance and culture. Accommodating large events and individual calm moments, the clearings sit within a robust landscape of grasses and tree planting. The Park creates a shield from traffic whilst linking to Tähtitorninvuoren Park; a potential bridge connecting the two becomes a viewing platform overlooking the harbour and Park providing an unhindered view to the city, and links the local neighborhood to the water. Each of the clearings are created to foster activities and interaction in the park and with the public realm as well as visitors to the museum.
The Promenade The Promenade is the strand that links the narrative connecting water with urban, working harbour with cultural harbour, landscape with built, and the near event with the distant view. From the city center, the Promenade embraces the old market hall, which is extended with outdoor pavilions, or market stalls under a canopy of trees along the Harbor Basin, with additional spill-out spaces for The Palace Hotel café along the water’s edge. The Harbour Basin
The Square Visitors arrive to the museum either by foot or by bicycle along the promenade, or by the city tram. The Museum forecourt and Guggenheim Square is brought across Laivasillankatu to integrate the tram stop into the square and ensure safe and easy access for those arriving by public transit. The forecourt itself is a calm space where large groups can gather. A water sculpture creates a focal point as well as offering opportunities for play during both summer and winter. The museum towers cluster together, the heart of Helsinki Five. Here the promenade offers multiple routes, to the café and museum foyer, through the external museum spaces, along the water, and beyond to the Park.
VIEW FROM TÄHTITORNINVUOREN PARK
CONTEXT Finlandia Hall
Kaisaniemi Botanic Gardens Helsinki Music Centre
National Museum of Finland Finnish Museum of Natural History
Helsinki Cathedral
Rautatientori
Lasipalatsinaukio Narinkkatori Tennsipalatsi Helsinki City Amos Anderson Art Museum Art museum
1200 m 15 min
Hietalahden Tori
800 m 10 min
Military Museum
Ateneum Uspenski Cathedral
400 m 5 min Museum of Finnish Architecture
Design museum
Observatory
Cygnaeus Gallery
Legend
Legend
Vuosaari Park
City Cultural Park
Public Parks and Green Spaces
East Park
Guggenheim Site
Public Squares and Plazas
Viikki Park
Proposed extension of City
Public buildings
Helsinki Park
Cultural Park
Guggenheim Site
Central Park
Proposed extension of
West Park
Helsinki Park
GREEN FINGER PLAN 1.200.000
KEY DESTINATION 1:30.000
The site connects the Green Finger Plan with the cultural thread of the city, offering an opportunity to link together waterfront, green space and culture for the citizens of Helsinki.
A series of public and free invitations across the site is a gesture to all of Helsinki. By combining everyday life and special events the site becomes a meeting place closely associated with the existing key destinations of Helsinki.
The Esplanadi
Market
Covered Market
Square
Port of Helsinki
Square
Park
T채htitorninvuoren Park Helsinki Observatory
GREEN + CULTURE PROGRAMM 1:75.000 (right ) The thread of culture extends from the city center along the waterfront to and beyond the museum. The thread of green flows from T채htitorninvuoren Park to the harbor with a new Harbour front park. The nexus of these threads is The Helsinki Five.
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Public Parks and Green spaces Cultural Axis - Esplanadi to Guggenheim
Ferry Terminal
CO N T E X T
CONNECTIVITY
Domestic Ferry Domestic Ferry Ferry to Tallin Ferry to Stockholm
Bus Trams 7A, 7B 4, 4T 3T 3B 6 10 8 Designated bike lanes
Legend
Legend
Bus
Tram 10
Guggenheim Site
Tram 7a, 7b
Tram 8
Proposed Cargo route to terminal
Tram 4, 4T
Designated Bike Lanes
Proposed Vehicle route to terminal
Tram 3T
Stops
Art Deliveries to the Guggenheim
Tram 3B
International Ferry
Taxi Drop Off
Tram 6
Domestic Ferry
Bike Parking
VIP and Staff Parking
PUBLIC TRANSPORTATION NETWORK 1:30.000
TRAFFIC 1:10.000
The city of Helsinki boasts a well developed transportation network, with a system of local tramways and busses as well as a rail hub connecting the city, both nationally and internationally. The Guggenheim site is, located in the well connected southern harbour region of the city. The site is serviced by both trams and busses with stops less than 100m away, as well as domestic and international ferries bringing visitors from nearby islands and tourists from around the world.
Museum deliveries, tourist bus drop-offs and all access to the Olympia Terminal is served by the back access road. The rising topography of Laivasillankatu Street is, at this point, not a hindrance for trucks. A new traffic light controls the flow of cars and trucks to ensure a smooth traffic distribution into the overall urban system.
CONNECTIONS 1:75.000 ( right ) Visitors arrive to the museum either by foot or by bicycle along the promenade, or by the city tram. At the Palace Hotel, the materiality of the Guggenheim Square is pulled across Laivasillankatu Street, which serves to integrate the tram stop into the square and ensure safe and easy access for those arriving by public transit. The Guggenheim Square is free from any vehicular traffic and reserves this as a pedestrian and bicycle only space. Pedestrians can move directly from the Esplanadi over the market square and into the forecourt, through the agora of the museum and into the continuous 10-meter wide harbor front promenade, which connects to the Olympia terminal. Bicycles are similarly encouraged along the harbor front and along the improved bicycle lanes at Laivasillankatu Street.
Pedestrian Connections
A series of look out Points
Harbour Promenade Walk
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S PAT I A L S E Q U E N C E S TYPOLOGIES
1.Guggenheim Forecourt
4.
2.The Promenade Steps 3.The Framed Clearings
1.
4.Seaside Long Bench
3.
2.
4.
y
THE GUGGENHEIM SQUARE The forecourt itself is a calm space where large groups can gather. A water feature creates a focal point that offers opportunities for play during both summer and winter. The Harbor Basin becomes a focal point with a long social bench along the edge. Water steps are cut into the basin and extend below the water level for informal seating in the sunniest area on the forecourt.
ring
afe and play learing
ide The Events Clearing
est clearing
THE PROMENADE STEPS AND BRIDGE The seating steps at the promenade provide a space for larger events to happen throughout the year along the waterfront. Over head the bridge connecting from Tähtitorninvuori Park becomes a look out point with a panoramic view over the city and the surrounding harbour.
THE FRAMED CLEARING The clearings are contained within an organic frame and are dimensioned to host a variety of functions and activities. For example, temporary pavilions inspired by the Serpentine Gallery in London, or Toronto’s “warming huts” program during the winter months. The robust gravel surfaces provide a stage for public life, enclosed by long benches that define the edges.
SEASIDE LONG BENCH The Promenade is the strand that links the narrative connecting water with urban, working harbor with cultural harbor, landscape with built, and the near event with the distant view. The long seaside harbour bench defines the transition between Park and Promenade and is felt as one continuous element along this special route; providing varying sitting and lying spaces to enjoy the view.
26
CO N T E X T
SITEPLAN
Market
SCALE 1.1000
Long Seaside Benches
Summer Concerts
Café Water sculpture
Palace Hotel Eteläinen Makasiinikatu
Seating Steps
Forecourt +2.50
Autumn Sculpture Exhibition
Art Installation
Harbour
Interval +4.00 Promenade
Café
Staff Entrance
Winter Snow and Ice Sculptures
Art Installation
Loading Dock +3.00 Clearing Café + Play
Seating Steps
+4.00
Benches Clearing Event Space
View Point
Ne w Bi cl
cy
Bernhardinkatu
es Pr
Clearing
en
om ad e
i La
gde Bri
tu ka
an ll
si va
New Terminal
Skate Park
Tähtitorninvuori Park
27
SEASONAL PROGRAM
Parking Infrastructure for Ferry Traffic
All year round program
All year round program
Lighting Masts
Summer program and activities
Winter program and activities
Mooring Bollards Low Level Clearing Lighting
SUMMER PROGRAM
WINTER PROGRAM AND LIGHTING:
The Harbor Basin becomes a focal point with long social benches along the edge and water steps cut into the basin. These steps extend into the water itself to create informal seating in the sunniest area of the forecourt. A water feature creates a focal point as well as offering opportunities for play during both summer and winter. The clearings host events through the summer and the arena steps at the harbour front offer an opportunity for larger gatherings and concerts by the water.
Low mooring bollard lighting at regular intervals along the Harbour promenade provide ambient lighting, a strong rhythmn and informal seating opportunities. At night and in the winter the special gathering spaces of the clearings are defined by light anlong the fluid geometry benches. Tall lighting columns light the public space of the Guggenheim forecourt, planted Market Square and Laivasillankatu Promenade between the Harbour Park and T채htitorninvuoren Park.
Steps reach the water at the Harbour Basin
Waterplay in Guggenheim Square
Smaller warming huts in the clearings
Lighting through the tall grasses as part of Helsinki Festival of Light Image
Seaside waterfront Bench
Stopping for an Ice cream at the Ferry Terminal in the Park
Ice skating along the water sculpture at the forecourt
Bonfires and handwarmers along the harbour front
28
CO N T E X T
MATERIAL STRATEGY PLANTING AND MINERAL ATMOSPHERES A strong material palette will be developed that is closely related to both harbour and city setting. The robust materiality of the ground, with its subtle shifts in texture and atmosphere, extend from the square to the museum to the promenade. In particular, the landscape is treated with more refined detail at the museum and the Guggenheim Square, moving to a more natural, rougher texture at the Park, the clearings and towards the water.
A natural landscape of grasses define the clearings at the park, giving an evolving atmosphere of colour, movement and feeling of shelter and calm. Between the grasses and in the clearings an evolving program of sculpture and art takes place throughout the year. The new bike promenade is planted with a formal alignment of trees and a collection of formally planted trees at the market square serve to define the northern edge of the Guggenheim forecourt.
+ 37.10 m + 35.70 m
+ 31.50 m + 30.00 m
Skybar
Exhibition + 27.75 m Kitchen + 24.0 m Restaurant
+ 18.00 m
+ 18.00 m Skygallery
Skygallery
+ 15.00 m + 13.50 m Auditorium
+ 12.00 m Exhibition
+ 9.75 m Workshop + 6.00 m
+ 6.00 m Multimedia
Exhibition
± 0.00 m
± 0.00 m + 4m from sealevel Groundfloor
Café
- 6.00 m Earthgallery
- 6.00 m Earthgallery
Steps below water level at Harbour Basin
Water Sculpture
Sculpture
Forecourt
Cafe
Sculpture
Framed Grassess
Clearing
SECTION
Textures of concrete in the public realm
Steps along the Harbour front
A rougher atmosphere at the harbour park
Movement in the wind
Steps reach the water at the Harbour Basin
The calm space of the forecourt Image
Tall grasses define the clearings
Winter atmosphere
Skateboard park within the frame at the southern most end of the park
Rougher details towards the Park
Bridge connection winds its way through the Park
Market square tree canopy and an alignmnet along Laivasillankatu
29
PLANTING STRATEGY SUMMER SECTION
AUTUMN SECTION
T채htitorninvuori Park
Laivasillankatu
Alignment Trees Bike and Pedestrian Promenade
Acc Termina at P
T채htitorninvuori Park
Laivasillankatu
Alignment Trees Bike and Pedestrian Promenade
Acc Termina at P
T채htitorninvuori Park
Laivasillankatu
Alignment Trees Bike and Pedestrian Promenade
Acc Termina at P
WINTER SECTION
Ferry Port Infrastructure
Ferry Port Infrastructure
Ferry Port Infrastructure
PHase 0
PHASE 1
PHASE 2
InsTanT Park, TemPorary InsTaLLaTIons
SITE BOUNDARY
NORTH SOUTH EXTENSION
30
ces to Ferry al with Parking Park edge
CO N T E X T
Framed Grassess
ces to Ferry al with Parking Park edge
Framed Grassess
ces to Ferry al with Parking Park edge
Framed Grassess
Evolving concerts and exhibitions in the clearings Summer Music Festival
Evolving concerts and exhibitions in the clearings Autumn Sculpture Exhibition
Evolving concerts and exhibitions in the clearings Winter Ice and Snow Sculptures
Framed Grassess
Harbour Arena steps
Seaside Bench and Promenade
Framed Grassess
Harbour Arena steps
Seaside Bench and Promenade
Mooring Light
Helsinki Southern Harbour
Framed Grassess
Harbour Arena steps
Seaside Bench and Promenade
Mooring Light
Helsinki Southern Harbour
Mooring Light
Helsinki Southern Harbour
LANDSCAPE PHASING The project and phasing strategy enables a wide range of opportunities. Rather than locking the whole site, the project is flexible over time and as the city evolves and progresses there is an inherent potential for transformation.
New cultural develompment
PHASE 3 POTENTIAL PHASED DEVELOPMENT
Phase 0 Before construction begins an instant park and temporary installations are established on the site of the proposed Park. Thus activating the site from Day 1. Phase 1 New Ferry Terminal with associated infrastructure. Elements of all typologies are captured within the boundary - Square, Promenade, Museum and Park. Phase 2 Includes the North extension to the Guggenheim Square, integrating the tram stop into the square. The planted market square at the harbour basin, the steps to the harbour basin and the water sculpture are also included in this phase. At the southern end of the site the Harbour Park envelopes the Ferry Terminal together with a new skate park. The establishment of a tree lined promenade along Laivasillankatu strengthens this route through the city. Additionally, the Bridge connection from T채htitorninvuori Park is implemented in this phase. Phase 3 Integrates the ferry terminal into a potential waterfront development. There is potential for an additional cultural destination here at the southern end of the Park.
31
SUSTAINABILITY
Between 21st December and 21st January at 10:30 am Sun angles range between 151° to 155° (from the north) 3.5° to 6° (from the horizont)
„THE GUGGENHEIM-HENGE“
Strategy In the short history of museums, their roles have changed dramatically from collecting, to exhibiting, to the democratization of knowledge and art. But what is next? How do you build a museum for the future? We believe that making a museum sustainable means nothing less than its ability to thrive and adapt for the next 500 years. Our design is elegant yet simple, innovative yet reliable. We focus on incorporating well known technologies and approaches in new ways. We incorporate the systems directly into the architecture while at the sametime ensuring their accessibility and flexibility. We believe that through an integrated design process involving deep collaboration with the architect, engineer, client and users that new and better solutions are possible; Solutions where sustainability, function and comfort augment each other. The kinds of solutions that make this a lighthouse project where people from around the world flock to visit, interact, and display art. Current sustainability standards do not consider the future in a meaningful way. By this process we go beyond the focus of even the most stringent of existing sustainability standards like LEED Platinum, Living Building Challenge or even the 2000 Watt Society. The overall concept of the building focuses on five key areas which are explored in more depth later in the booklet.
Focused Ventilation: Using occupancy, temperature and humidity sensors the space is ventilated to the perfect amount to maintain the perfect conditions for the artwork. “Air curtains” create an air veil of conditioned air over the paintings, ensuring exact conditions for the space.
Offices: The less stringent requirements for temperature ranges for the office creates the opportunity for higher comfort and lower energy use by letting occupants control their environment. Exhibits / Skygallery: Ensuring stable conditions in gallery and exhibit spaces is paramount. The ability to use passive means of controlling the environment becomes a tension with the need for total control. Our approach uses a mix of passive,active and low energy solutions. First step is to minmize the internal loads significantly by High performing envelope avoiding
SIMPLE PASSIVE HUMBLE
PROPOSED APPROACH
Natural Daylight: Humans are deeply connected to the sun. In Helsinki with a dark long winter, sunlight and access to natural light becomes even more important. The atrium gets direct sunlight all year round. The galleries benefit from diffuse light from clerestories and light wells.
Auditorium: The auditorium has intermittent occupation and is not constrained by the same requirements of an exhibit. The key aspects for comfort and energy in such a space are sufficient fresh air good acoustical and thermal conditions. By widening the temperature range and using natural ventilation whenever possible, we can significantly drop the heating and cooling requirements in the space.
FLEXIBILITY
MATERIALS Co2 REDUCTION LIFE-CYCLE ENVIRONMENT
HOLISTIC APPROACH ATTRACTIVE ARCHITECTURE RELIABLE ENGINEERING INTEGRATED PROCESS
FINANCE €
€
€
€
REQUIRED RESOURCES
EFFICIENT HIGH RETURN ON INVESTMENT LIFE-CYCLE SAVINGS
PROCESS INFLEXIBILITY CONVENTIONAL APPROACH
Smart Zoning: We believe that through controlling the environment of exhibits tightly, while allowing flexibility in the atrium, offices, auditorium, we can greatly reduce the amount of energy is needed to condition the spaces. It also opens the potential for natural ventilation.
Atrium and public areas: The atrium and public areas are seen as more semiconditioned spaces that provide a bright respite from the winter time, and a place to meet and gather. This space is less strictly controlled than the exhibits and the design thoughtfully disconnects the air movement from the atrium to the other spaces.
2015
2200
2500
FUTURE
DOES NOT ADAPT RESOURCE INTENSIVE
MATERIALS LOW QUALITY AND CHEAP NEEDS REPLACEMENT
APPROACH ARCHITECTURE VS ENGINEERING NON INTEGRATED PROCESS
FINANCE
€
CES
SOUR
ED RE
IR REQU
PROFIT-DRIVEN SACRIFICES QUALITY
High Performance Active Façade: A well-insulated wooden façade embodies sustainability with its low carbon footprint, in combination with insulation to reduce thermal losses. To maintain constant conditions in the galleries the walls also incorporate active capillary conditioning which acts to further thermally isolate the room from exteriors.
Intelligent Systems: Part of the museum of the future is incorporating control systems that reflect our ability to predict heating, cooling and dehumidification demand based on number of occupants and their locations, weather forecasting, and external light control based on gallery designs.
impact of outdoor conditions on the interior spaces Materials contributing to the thermal and hygric performance have been selected like clay, concrete, etc. Enthalpy Wheel Heat Recovery for the central ventilation unitsIn the cooling periods the enthalpy wheel reduces cooling and dehumidification demand in the rare cases where it is needed. Ultimately it helps maintain consistent temperatures at low energy usage. Natural Ventilation: Depending on the conditions required, each space is thermally isolated from the next one. Consequently, it is possible to imagine allowing natural ventilation in certain areas, even exhibits, if the outside conditions are appropriate and the artwork allows some variability in the conditions. By disconnecting each of the exhibits from each other, maximum flexibility is possible in terms of the environment provided to each.
THE CLIMATE OF THE SUN Helsinki has a unique climate. The long cold dark winters can make it Wind Rose for Temperatures above 0°C Wind Rose for Temperatures Below 0°C N more challenging to be outside, and N 700 180 NNE NNW NNW NNE can have a real impact on the health 160 600 and wellbeing of people. The museum 140 NE NW NW NE 500 120 works to use the climate to improve the 400 100 performance, comfort and usability of 80 300 ENE WNW WNW ENE the space. In contrast to the winters, 60 200 40 0 m/s the long summer days pose a challenge 100 20 3 m/s for cooling with upwards of 18 hours of E W 6 m/s 0 W E 0 9 m/s sunshine at low angles. Thoughtful use 12 m/s of external shading, and natural cooling WSW ESE WSW ESE for the atrium becomes key. A detailed analysis of local conditions in many different weather stations was done to SE SW SW SE best understand the impact of the wind SSE SSW SSW SSE on the specific site. Examination of the S S summer, spring and winter winds from each station was conducted. What becomes For temperatures above 0°C, the prevailing wind directions For temperatures below 0°C, the prevailing wind direction is clear is that although the annual Wind are SSW and W. the NE which requires appropriate wind protection on the NE. Roses seem quite homogeneous, the wind when temperatures are below 0°C are around the entrance; Access to the warmer of the space and the fact that the atrium primarily from the Northeast while the winds in the summer by the gathering acts as a space to enter avoiding the chance summer winds come more from the West and spaces Protection of the pedestrians from of line ups outside. On the south of the Southwest. This drives a few key outdoor downdrafts. The winter winds are controlled site, the space is ideally placed to make design components: Protection from the winter winds by wind barriers by the entrance, the form the st –21 stSep st st21 Percentage Percentage of Percentage time of time comfortable comfortable of time comfortable outside outside fromoutside from Sep 21 Sep from Mar – 21 Mar 21 from –sMar t from 9:00 21s9:00 to t from to 9:00 to outdoors more comfortable in winter
O UOTUDTODO UOTRODROC OOCRMOFMC OFO ROM TRFTO S TRSRTTARTSAETTGREYAGTYE G Y 15:0015:00 15:00
OUTSIDE COMFORT Our study of outdoor comfort shows that through the blocking of the winter winds and the access to sun, during the daytime hours in winter, comfort in the space can increase from only 18% of the time to over 85% of the time. This represents and almost five-fold improvement in comfort, allowing people to do activities such as drinking coffee, attending a market, events, etc. The images from Winnipeg, Canada and Ottawa, Canada highlight how creating the right microclimates allow people to enjoy the city spaces in the winter time as well. The Museum of the Future is reactive to its climate and provides not just a space for art, but also for community and gathering. Through a deep understanding of the local conditions we provide new comfortable outdoor spaces in winter and incredible gathering places in summer.
Percentage of time comfortable outside from Sep 21st – Mar 21st from 9:00 to 15:00
18% 18%18%
Shaded from the sun and
30% 30%30%
Exposed to the sun and
85% 85%85%
Exposed to the sun
Exposed Exposed to Exposed the to the sun the sun exposed toShaded the wind protected from wind and thesun windto Exposed to Exposed the tothesun the to sun the sun Shaded Shaded from from the sun the from sun the sunExposed andand protected protected and protected fromfrom the the from the the the wind and wind the wind andand exposed exposed andto exposed the to the to the andand OUTDOOR COMFORT STRATEGY windwind wind windwind wind
The Big Picture Outdoor Comfort � Outside comfort improvements by protection from wind and exposure to sun – 85% comfort improvement from base Red Blankets Hut by Workshop Architecture Inc. case (shade and wind) by protecting the person from wind and exposing them to the sun. 34
Winter pop-up restaurant by RAW:almond
S USTA I N A B I L I T Y
VIEW FROM SUN 21st DECEMBER
SUN 12pm 12pm
R
2pm 10am 2pm
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21st MARCH 21st DECEMBER 21stOUTDOOR DECEMBER AIR TEMPERATURE
21st DECEMBER 21st DECEMBER 12pm
2pm
10am 2pm 2pm
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12pm8am 12pm
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10amDECEMBER 2pm 21st 10am
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21st DECEMBER
21st MARCH 21st MARCH
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VIEW FROM SUN
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4pm
4pm 14pm 4pm12pm 10am 12pm 4pm
8pm
12pm 12pm 6pm 2pm 6pm 6pm 2pm
10pm
21st JUNE 10pm 21st JUNE 10am 10am
8am 8am
12pm
10am
21st MARCH 10am 2pm 2pm
2pm 6pm
12pm 4pm
6pm2pm 2pm10am 6pm 2pm
12pm 4pm 4pm
21st DECEMBER
21st 21st JUNE
12pm 4pm 12pm
2pm
21st JUNE VIEW FROM SUN 21st MARCH 21st MARCH VIEW FROM SUN
8am 8am 8am 12pm 8am12pm 4pm 12pm 12pm 4pm 12pm JUNE
6pm 2pm10am 2pm 6pm 2pm10am
4pm 12pm 4pm
21st June
6pm 6pm 10am 2pm 2pm 6pm 2pm 10am
21st 12pm MARCH 8am
10am 2pm 10am 2pm
12pm8am 4pm 12am 12pm 4pm 10am 4pm 12pm
8pm
21st March
12pm 6pm 6pm2pm 6pm 6pm 2pm
4pm 12pm 4pm 12pm 2pm 4pm 2pm
21st December
4pm
10pm
10pm
21st JUNE 10pm By studying the way the sun moves through 21st MARCH 10am the sky and its the 8am built 8am 21st JUNE relationship to12pm
the sun penetrated the atrium and lit the spaces bathed in sun all day long. 4pm 10am 12pm 12pm 8am 10am 10am 6pm2pm 12pm entrance area 2pm with light. In June, the long days ensure the 2pm 4pm environment we worked to shape 12pm the towers, These winter time entire building receives plenty 10am 6pm of sun. 2pmgoals focus on creating their connections to each other and a brighter space in the darkest time of the Given the high level of solar radiation 8pm determine how the entrance and gathering year and using8pm the little sun available for 10pm shading in the atrium and operable 21st JUNE 8pm 10pm spaces are organized. As is clear from the maximum benefit. The redirection of light windows are used to ventilate,8pm helping diagram, the winter sun is very low and has to keep the temperatures in the public 8pm 10pm using the facades, and having potentially a very short day. The achieved goal had two more active means, helps to make the atrium spaces comfortable. objectives: a bright space10am even on a dull day. The organization of the towers ensures 4pm 2pm4pm 12pm 10am 8am 12pm 12pm8am 2pm to daylight in the public 6pm 2pm 1. Provide sun to the outside gathering By March, the days are much longer and the access spaces, 4pm 4pm 12pm 6pm 10am 2pm 12pm get direct sun in 8amatrium. space and setup helps the entrance roofs, 2pm and entrance area throughout the 8pm 10pm 2. Ensure that for at least an hour a day the morning and have the outdoor gathering year. 8pm 10pm
8pm
21st JUNE 8pm
10pm 10pm 8am
10am
12pm
35
THE BUILDING AND EXHIBITS Auditorium: Ventilation: all periods: displacement ventilation along the perimeter /summer: option for natural ventilation EXHIBITION SPACE
Heating: demand driven radiant panels provide heating capacity benefitting from the quick response time Cooling: driven by internal gains covered by ventilation and supplemental cooling by radiant panels
ATRIUM SHADING Reduces unwanted heat gains and minimizes discomfort in summer.
DISPLACEMENT CEILING VENTILATION Reduces air exchange rates and air motion while maintaining constant temperature conditions.
RADIANT COOLING SLABS Increase human comfort.
LARGE QUIET FAN Ensures uniform temperature in the gallery.
OFFICES DECENTRALIZED VENTILATION Provides fresh air based on individual needs while minimizing ventilation energy losses with heat recovery.
ACTIVE ENVELOPE LAYER Provides constant envelope temperatures independent of outside conditions.
NATURAL VENTILATION Provides fresh air and improves productivity.
TOTAL ENERGY WHEEL Recovers humidity and heat from exhaust air.
MOVABLE EXTERNAL SHADING Prevents unwanted solar heat gain in summer.
AIR CURTAINS Maintains ideal condition for artwork.
RADIANT COOLING Increases human comfort. SMART SENSORS Control ventilation rates to reduce energy usage.
Lighting: highly efficient LED lighting visual connection to atrium and exterior AUDITORIUM EARTH DUCT Preconditions supply air.
DISPLACEMENT VENTILATION Reduces air supply rates and air velocities while maintaining appropriate temperature
RADIANT PANELS Provide highly reactive cooling based on occupancy.
SUMMER CONCEPT
Atrium and public areas: Ventilation: summer: natural ventilation shoulder periods and winter: mechanic ventilation by displacement ventilation
EXHIBITION SPACE ATRIUM
Heating: summer: conditioning by natural ventilation Shoulder periods: use of passive solar gains, ceiling fans mixing stratification, supplemental heating by radiant floor winter: radiant floor, low temperature heating
LARGE QUIET FAN Reduces temperature gradient.
DISPLACEMENT CEILING VENTILATION Reduces air exchange rates and air motion while maintaining constant temperature conditions.
RADIANT HEATING SLABS Increase human comfort.
LARGE QUIET FAN Ensures uniform temperature in the gallery.
OFFICES DECENTRALIZED VENTILATION Provides fresh air based on individual needs while minimizing ventilation heat losses with heat recovery.
ACTIVE ENVELOPE LAYER Provides constant envelope temperatures independent of outside conditions.
RADIATORS Provide controllable perimeter heating.
TOTAL ENERGY WHEEL Recovers humidity and heat from exhaust air.
MOVABLE EXTERNAL SHADING Provides access to direct sunlight in winter for passive heating.
AIR CURTAINS Maintains ideal condition for artwork.
RADIANT HEATING Increases human comfort. SMART SENSORS Control ventilation rates to reduce energy usage.
Cooling: Control of summer conditions by shading and natural ventilation Lighting: Maximum daylight suply via vertical facades and skylights immable and colour controllable LED lighting.
36
AUDITORIUM RADIANT PANELS Provide highly reactive heating based on occupancy.
WINTER CONCEPT
DISPLACEMENT VENTILATION Reduces air supply rates and air velocities while maintaining appropriate temperature
EARTH DUCT Preconditions supply air.
S USTA I N A B I L I T Y
DAYLIGHT AND EXHIBIT CONTROL Exhibits / Skygallery:
EXHIBITION SPACE LIGHT WELLS Provide diffuse daylighting to the lobby.
LED LIGHTING Reduces electricity demand and excess internal gains.
ATRIUM LIGHT WELLS Provide diffuse daylighting to the lobby.
SHADING Reduces unwanted heat gains and minimizes discomfort in summer.
SMART OCCUPANCY SENSORS Control artificial lighting operation.
DAYLIGHTING Reduces artificial lighting demand and connect visitors to the outside
OFFICES MOVABLE EXTERNAL SHADING Provides access to direct sunlight in winter for passive heating.
MULTILAYER WINDOW SCREENS Diffuse sunlight and provide complete blackout when needed.
Ventilation: No water systems close to the exhibits displacement ceiling ventilation: this perimeter ventilation from the ceiling creates an air-veil over the art work, providing stable conditions; Vestibules separate atrium climate from the exhibition spaces. Smart sensoring allow for demand driven ventilation
WINTER STRATEGY OPTIONAL INTERIOR WINDOWS Can provide indirect lighting to galleries.
MOVABLE EXTERNAL SHADING Prevents unwanted solar heat gain in summer.
SUMMER STRATEGY
Cooling: High performance facades with an active layer cooling mode; Ventilation provides some cooling capacity
AUDITORIUM LED LIGHTING Reduces electricity demand and excess internal gains.
Heating: High performance facades with an active layer heating mode; High performing total energy; Heat recovery wheels large slow moving fans to avoid stratification in high exhibits.
SMART OCCUPANCY SENSORS Control artificial lighting operation.
LIGHTNING CONCEPT
ROOM TEMPERATURE AND HUMIDITY CONDITIONS
EXHIBITION SPACE
OFFICES ATRIUM AUDITORIUM EXHIBITION SPACE
Lighting: Some spaces allow for natural daylight via skylights and façade openings; the design of the skylights consider the amount of snow during winter. Shading and darkening devices allow for mitigating daylight to an appropriate level depending on the kind of exhibit.
21.5 ± 1 °C RELATIVE HUMIDITY 50% ± 5%
EXHIBITION SPACE 21.5 ± 1 °C RELATIVE HUMIDITY 50% ± 5%
ATRIUM
ATRIUM
SUMMER STRATEGY
WINTER STRATEGY
21 - 26°C
18 - 22°C
UNCONSTRAINED RELATIVE HUMIDITY
UNCONSTRAINED RELATIVE HUMIDITY
Offices: Ventilation: summer: natural ventilation/ shoulder periods and winter: mechanic ventilation by decentralized ventilation units
OFFICES 21 - 25°C
Heating: base load: active slab peak: perimeter radiators Cooling/ summer conditions:
UNCONSTRAINED RELATIVE HUMIDITY
Natural ventilation: control of solar gains by shading exposed thermal mass and night flushing with outside air active slab cooling: areas with high internal gains AUDITORIUM
EXHIBITION SPACE
21 - 25 °C
20 ± 1 °C
UNCONSTRAINED RELATIVE HUMIDITY
RELATIVE HUMIDITY 50% ± 5%
ROOM TEMPERATURE AND HUMIDITY CONDITIONS
Lighting: maximum daylight supply base and task LED lighting will provide highly efficient controllable light, controlled by daylight and presence detection
37
CONSTRUCTION / MATERIALITY
COMING CLOSER
Light and Materiality While the arrangement of the buildings and the poise of their form provide a place of shelter and outlook, it is the choice of materials that convey its singularity and ease of character. The combination of form, material choice and façade articulation produce a museum that, although large in scale, remains intimate and tranquil. Freely oscillating vertical lines caress an harmonious wood shingle façade, giving lightness and elegance to the ensemble. Wood is forged and grown by the cyclical processes of seasonal changes, weather, light and time. The smell of wood, its positive affect on indoor climate, its hygroscopic properties, its aging quality under the elements, and the swirling winds coming off the harbor work in concert to echo an intimate sense of place. The consistency of the façade creates a sense of belonging with the landscape, while its subtle oscillation expresses a sense of nature’s fragility. This subtle gradient appears to gently “ruffle“, as though the façade has been brushed by the winds of the sea. During the day, the varied aperture of the shingles causes sunlight to dance across the facade, creating a surface that appears to be in a state of subtle but continuous flux. After sunset, soft luminous spots spatter across the towers and a strong glow from the agora-like space within radiates out in all directions. At a distance, the shingles form a unified texture that accentuates the fluid lines of the form, while up-close they open to reveal an oscillation that is responsive to the program. Depending on one‘s vantage point, the shingles may look completely closed even while offering transparent views to occupants inside. Building Envelope The selection of materials speaks to Helsinki‘s sense of belonging - to a place, a culture, a lifecycle and a future. For these reasons, wood has been chosen as the principle structural and cladding material. The façade finish and structural members make use of highperformance timber products that have been selected to provide the highest level of structural performance and durability while maintaining the warmth and rich tactile quality desired for the project. The facade has been developed as an adaptable free-form shingle cladding system with an integrated secondary articulation pattern of shade and surface. In detail, the shingles of 120 x 80 cm allow controlled exposure of the envelope to the outside climatic changes. Starting from the inside of the buildings, the laminated timber structure is stiffened by an exterior layer of 30mm laminated veneer lumber plates. In turn, this layer provides the backing for the vapour membrane and a vertical substructure with of 3x20 cm beams for the shingles. The ventilated cavity system is insulated with fireproof rock wool insulation and ventilated to the exterior. In the interior, the structural depth of the main timber structure provides a flexible cavity space to accommodate services and installation equipment. In areas where transparency, operable vents or other visual connections are desired, the insulated glass units are directly fastened to the laminated veneer timber beams of the exterior substructure. Shading is provided by the
“ruffling” of the shingles, which both modulates the aperture of the openings and the amount of shading provided. The material and system selection for the building envelope will provide an environmentally sensitive, well-tested envelope system that accentuates the form of the design while enhancing the experience of the building. Wood and Sustainability Sustainability starts with the material choice. As a high-performance naturally grown tissue, wood offers exceptional structural strength. Wood is a natural, rapidly renewable resource and has a long tradition in building application. It’s properties are perfectly suitable for constructional purposes, it is very simple to process and at the same time a very powerful, extremely light-weight material. The performance of wood regarding load-bearing capacity in relation to weight is better than of concrete. Wood is both stable and elastic at the same time, giving it a wide range of possible applications. When compared to constructional steel or concrete, wood is not produced in high energy-intensive processes, but is regenerative in nature; processing only water and carbon dioxide and, with the help of natural sunlight, producing oxygen. Subsequently, wood does not only have a very low embodied energy, but in most cases even extracts more carbon dioxide from the environment than is generated during processing, e.g. by transport and machining. Timber products do often have a negative carbon footprint and are thus positively contributing to the protection of our environment. Even when used in construction, wood does not lose its storage function of CO2. One cubic meter of engineered wood stores one to two tons of CO2.
THE INNOVATOR 1
The application of wood for building purposes results not only in a comparatively low environmental impact, but also opens up possibilities for end-of-life reuse. Timber construction is particularly easy to deconstruct, to recycle or alternatively, can even be used for thermal power generation.
When looking at the life cycle of timber construction, this negative carbon footprint can easily be calucated. Gluelaminated timber, used for the main timber construction of the museum towers, can be taken into account with an amount of approximately 770 kg CO²-Eqv/m³ of greenhouse gas emissions. This value includes the storage of CO2 during growth, as well as the emission of CO2 through transport, storage, drying, preprocessing, finger-jointing, cutting of the lamellas, glueing and final processing steps. On the other hand, the glulam timber beams can be used for generating thermal power. This sustainably gained energy replaces fossil energy sources (e.g. petroleum or gas) and thus, helps to decrease climate change. Put into a certain amount, this means a greenhouse gas emission of approximately 1,07 kg CO²-Eqv/kg. The volume of glulam timber used is 1800m³ with a specific material weight of 600 kg/m³. After accounting, the result is the amount of -230.400 kg CO2 Eqv., which is a negative value of emitted carbon dioxide. Compared to the amount of CO2 a standard car emits during operation (140g CO²/km), the saved carbon dioxide would enable this car to circle 41x around the globe!
Finland – the most extensive forest cover inFinland Europe– the most extensive forest cover in Europe
Some 23 million hectares (76%) is under forests in Some 23 million hectares (76%) is under forests in Finland, representing about 11% of the forest area in Finland, representing about 11% of the forest area in Europe ha). Europe(210 (210million million ha).
TIMBER CONSTRUCTION Finland – the most extensive forest cover in Europe
Finland, the country within Europe with the most forest areas, is seen from birds eye view as extremely green. Three-quarters of the country is covered by forest. The landscape is covered mostly (86% of land area) by coniferous taiga forests and fens, with little cultivated land. The forest consists of pine, spruce, birch and other species. Finland is the largest producer of wood in Europe and among the largest producer in the world. In Finland, wood accounts for about 40% of all building materials. Wood is a low energy, renewable construction material throughout its life cycle and also provides long-term carbon sequestration. Certain impact by snow and wind in the coastal area has to be incoporated in calculations. Snow loads are considered with 2,5kN/m² on the ground. It is taken into account, that Helsinki has snow about four to five months of the year and might cause higher loads on flat roofs. Additionally, wind forces affecting the towers are increasing according to the building height. Therefore, higher wind loads are assumed in the upper parts of the towers.
Some 23 million hectares (76%) is under forests in Finland, representing about 11% of the forest area in Europe (210 million ha).
To t al ar ea To t al ar eaWater
Land area Land area
Water
303,890 km² 90% 303,890 km² 34,540 km² Finland – a land of forests 90% 34,54010% km² Finland – a land of forests 10%
Finland – the most extensive forest cover in Europe Some 23 million hectares (76%) is under forests in Finland, representing about 11% of the forest area in Europe (210 million ha).
To t al ar ea
To t al ar ea Water
Land area
26,940 km² 9%
32,280 km² 11%
37–48 1–14 49–63 15–23 37–48in % of land area, 2010 1–14 Forest area 49–63 15–23 64–76 24–32 64–76 24–32 33–36 33–36 37–48 1–14
Forest area in % of land area, 2010
Productive forest Low productive forest Other land area for forestry
49–63 64–76 24–32 Data based on State of Europe´s Forests 2011. 37–48 1–14 33–36
303,890 km² 90%
202,680 km² 67% 202,680 km² 67% 202,680 km² 67%
25,010 km²
25,010 km² 8%
15–23 Forest area in % of land area, 2010
Land area
16,980 km² 6% 16,980 km² 26,940 km² 6% 9% 26,940 km² 9% 32,280 km² 16,980 km² 11% 32,280 km² 6% 26,940 11% km² 25,010 km² 9% 8%km²km² 25,010 km² 202,680 32,280 67% 8%11%
16,980 km² 6%
Forest area in % of land area, 2010
Water
34,540 km² km² 303,890 10% 90%
34,540 km² 10%
Di s t r i b u t i o n o f l an d ar ea
Agricultural land Agricultural land area,
8% forest Productive Productive forestforest Low Productive productive forest Low productive forest productive OtherLow land areaforest for Agricultural land Other land area for Built-up area, forestry Other land area for forestry roads etc. forestry Di s t r i b u t i o n o f l an d ar ea
Built-up Agricultural land
Built-up area, Built-up area, roads etc. roads etc.
roads etc.
Di s t r i b u t i o n o f l an d ar ea Di s t r i b u t i o n o f l an d ar ea
• Sources: Statistical Yearbook of Forestry 2014, Finnish Forest Research Institute; Statistics Finland 2014. • Sources: Statistical Yearbook of Forestry 2014, Finnish Forest Research Institute; of Statistics Finland 2014. Advantages Timber Construction
49–63
15–23
Finland – a land of forests Finland – a land of forests
• Sources: Statistical Yearbook of Forestry 2014, Finnish Forest Research Institute; • Sources: Statistical Yearbook of Forestry 2014, Finnish Forest Research Institute;
Data based on State of Europe´s Forests 2011. FINLAND: A LAND OF FORESTS 64–76 24–32
33–36
Data based on State of Europe´s Forests 2011. Data based on State of Europe´s Forests 2011.
2
20m 40m
1
15m
3
13m
TIMBER 15m
14m
6,00m 14m
3,10m
CONCRETE
-4,00m -6,00m
CONSTRUCTION
4
0,00m
5
12m
ConCreTe Cores, suPPorTs, sPan WIdTHs
In general, two structural concepts for the towers can be distinguished. The outer timber layer of Towers 1, 4, and 5 is separated from the internal self-supporting structural system. The wooden envelope and inner levels are only connected with horizontal pin connectors. Towers 2 and 3, the two highest towers in the ensemble with large vertical spaces in the interior, have hardly any continuous floor levels, but rather gallery levels. These galleries are vertically supported by the timber structure. The outer layer acts as a tube system.
40
CO N ST R U CT I O N / MAT E R I A L I T Y
Knippers Helbig GmbH Advanced E
2.5
3.5
catio n
Ra pi d l y Re ne Fo wa r e str ble R yD ive essou r s ific rce ati on
ersifi ic Div
2.75
2.5
1.00
3.0
3.0
2.75
3.0
0.90
3.0
s
s ne ive tit pe
Climate Change Benefits
om Econ om tC
s Co
Urbanization and the related impact on climate
WinGraf (V 16.08-27) 24.03.2015
3.0
3.0 3.5
2.75
3.0
2.5 2.0
0.70
2.75
2.75
0.63
2.5
41x
0.56
2.0 2.75 2.5
2.75
0.44
2.0 -30.00
ADVANTAGES OF TIMBER CONSTRUCTION
-20.00
SNOW LOADS ON THE GROUND IN FINLAND Z
X
Y
Tower 3
Systemausschnitt Gruppe 0 1 3...10 12 101...106 Alle Lasten, Lastfall 20 Wind 1
-10.00
0.00
10.00
20.00
INCREASING WIND LOADS ACCORDING TO BUILDING HEIGHT
, (1 cm im Raum = Unit) Flächenelementlast (Kraft) Vektor (Unit=-1.00 kN/m2
) (Max=1.00)
CONSTRUCTION TYPES
12m
20 - 30 m
20 - 40 m
inner floor slabs have an own supporting structure
CONSTRUCTION TYPE A
12m
35 - 40 m
20 m
inner floor slabs are supported by timber frame structure
CONSTRUCTION TYPE B
The building complex consists of five towers of varying heights and widths, each with a pentagonal floor plan, which all rest on a connecting ground floor and -01 level. Reinforced concrete is the primary structure of the -01 level and ground floor. This type of structure yields a stable and robust foundation for the towers, which are designed as timber lightweight structures. Due to the prominent location on the coast, the -01 level at -6,00m falls below sea level, which is at -4,00m; therefore, a watertight construction is required. Due to this fact and the use of the -01 level as exhibition and high quality storage space, the exterior walls are constructed as a double shell wall. The outer shell is built as pile wall against water pressure, which will be necessary as construction pit, and the inner wall as white tank construction. Since stable ground starts only underneath a certain depth, a deep foundation is selected. By using pile foundations, the loads are distributed into the more stable subsoil, which reduces the differential settlements to a minimum.
41
30.0
STRUCTURAL SYSTEM Vertical and horizontal gluelaminated elements create a tube system that is covered with Kerto plates for stiffness. The timber structure is made out of local Finnish wood. The estimated dimension of the vertical gluelam member is 240x800mm. The grid distance between their axes varies between 1,2m and 1,8m, following the tapered tower geometry towards the base. Every 750mm the vertical elements are connected with a horizontal gluelam beam of approximately 150x800mm.
Main timber structure
The five towers are linked with connecting bridges that take horizontal wind loads as well as the inner reinforced concrete core system.
Outer covering layer
40.00
FE calculation of dominant load combination: 1*D + 1*L + 0,6*W + 0,4 *S
20.00
30.00
10.00
20.00 10.00 -30.00
-20.00
-10.00
0.00
10.00
20.00
30.00
m
M 1 : 255
Z X
Y
-30.00
-20.00
-10.00
0.00
10.00
20.00
30.00
X
Y
X * 0.502 Y * 0.906 Z * 0.962
-30.00
-20.00
-10.00
0.00
10.00
20.00
30.00
20.00 m
M 1 : 266
Z X
Y
live loads
10.00
10.00
20.00
30.00
40.00
normale forces 40.00
snow loads
m
M 1 : 266
Z
X * 0.502 Y * 0.906 Z * 0.962
30.00
The timber tube structure was modelled as a finite element 3D model. In order to accurately model the structure, surfaces, lines and points depict realistic material properties and cross sections. On this model vertical and horizontal loads were applied. The examination of the dominant load combination indicates the expected structural behavior.
30.00
40.00
The floor slabs of the inner levels are designed as partly prefabricated timber-concretecomposite-system. The floor beams with a cross section of ca. 240x800mm are bolted together with prefabricated reinforced concrete plates of approx. 120mm thickness. The concrete slab acts as an horizontal braced frame. Concrete slab and timber beams thus function as one composite bending section, as the connection can take shear forces.
Inner covering layer
X * 0.502 Y * 0.906 Z * 0.962
-30.00
-10.00
0.00
10.00
20.00
30.00
m
M 1 : 266 X
Y
horizontal bracing
FE MODEL OF THE STRUCTURAL SYSTEM
42
-20.00
Z
X * 0.502 Y * 0.906 Z * 0.962
CO N ST R U CT I O N / MAT E R I A L I T Y
FACA D E 9 00 12
10
m 0m 80 -1
11 00 12
750mm
8 m
0m 80 -1
12 00 12
750mm
13 m
0m 80 -1
7
15
00 12
750mm
750mm
m
0m 80 -1
750mm
14
6 5 1
4 3
2 2 4 700mm 8
1
m
m 800 mm
800
8 9
mm
800
10 5 11
WALL BUILD-UP 1 2 3 4 5 6 7
-
8 9 -
10 11 12 13 14 15
-
cladding: wood shingles 600x600mm lathing and counter lathing of Kerto S fins 30x200mm permeable membrane rock wool insulation covering plates, Kerto Q laminated veneer lumber 30mm vapour barrier horizontal timber structure, glue-laminated timber 150x800mm vertical timber structure, glue-laminated timber 240x800mm inner cladding layer, perforated timber plates - inward offset 50mm, - perforated according to functional requirements (acoustic, air exhausts, etc.) building services acoustic panels smoke and heat venting system air conducts and exhausts active insulation glazing
FLOOR BUILD UP 1 2 3 4
-
5 6 7 -
8 9 10 11
-
floor covering raised floor supports space for building services in raised floor timber-concrete-composite slab - prefabricated concrete slab 120mm - glue-laminated timber beams 240x800mm horizontal coupling with main timber structure space for building services in ceiling suspended ceiling - perforated according to functional requirements (acoustic, lighting, air exhausts, etc.) building services lightning fixtures LED acoustic panels air conducts and exhausts
43
6
1A 2B 2.50
2A
MOVABLE PLATFORMS 1
ca
2
.5
ca
.9
m
m
Movable Platform
Circulation
Platform b
Fixed Platform
ca. 12m
ca. 6m Plaza
Movable Platform
Platform b
PLATFORM SYSTEM A
PLATFORM SYSTEM B
Platform 1, a lightweight steel construction of approx. 33m² size, can be moved from -01 level to ground floor in Tower 3, which means it can be lifted to a height of 6m. It it supported by four hydraulic rams. A second platform underneath Platform 1 is moving upwards syncronously, thus filling the gap left by Platform 1, enabling use of the space under the first lifted platform. Platform 2 has to overcome a height of just 1,2m, which means the five hydraulic rams of this platform can be very slim. As technical equipment and construction of the hydraulic rams require certain space under the platforms, the foundation in Tower 3 has to be adjusted accordingly with a pit of approx. 3m depth underneath the movable units.
The second system is a rectangular movable platform, which is also designed as a lightweight steel structure. It is supported at its‘ short sides and can be moved along rails that are on one side fixed to the concrete core and on the other side free standing, with horizontal connection to the timber structure. The platform has a size of approx. 63m² and can move over 12m, being able to stop at three different levels. Power supply and machinery can be invisibly integrated in the concrete core.
SHINGLE FACADE
1
1
44
2
2
The wooden shingles of the façade embellish the waterfront and bow to the ancient architecture tradition of Finland. At a distance, the shingles form an unified texture that accentuates the fluid lines of the form, while up-close they open to reveal an oscillation that is responsive to program. Depending on one‘s vantage point, the shingles may look completely closed even while offering transparent views to occupants inside. The shingles allow controlled exposure of the envelope to the outside climatic changes. The shading is provided by the “ruffling” undulation, which modulates the aperture of the openings and the amount of shading provided.
CO N ST R U CT I O N / MAT E R I A L I T Y
outer timber structure
inner structure
FIRE PROTECTION outer timber structure
Kerto Q flame resistant B-S2
horizontal firewalls gluelam beams R90 horizontal separation of facade with non-inflammable elements
concrete slab 120mm REI 120
reinforced concrete core REI 180/REI240
In addition to the fire rating of the structure, the buildings will be equipped with a fire alarm and sprinkler system. The fire flashover from level to level will be avoided by the reinforced concrete slabs and fire protected joints between the elements. Inside the faรงade fire compartments will be generated by horizontal noninflammable elements. The fire escape is provided by stairs within the reinforced concrete cores. A second fire escape is possible through the faรงade. The smoke extract will be a mechanical system.
FIRE PROTECTION - CONCEPT SKETCH furnace temperature in K temperature of the test item before test in K
The timber structure is partly exposed and partly covered. The exposed structure is intended to be designed with the required fire ratings by calculation. The analysis is taking in account the fireload within the building as provided in European Standards and will provide the required dimensions of the load bearing elements. This logarithmic graph, according to ISO 834[2], is used for comparative evaluation of components by fire test. It specifies the temperature rise compared with the ambient temperature depending on the duration of the fire.
time in minutes
time
THE STANDARD FIRE TEST TIME-TEMPERATURE RELATIONSHIP
35 m
ESCAPE ROUTE
time
35m
m 35
35m
Florplan / Escape-Staircase
fire excape Section / Escape-Staircase
45
4.Having a coffee at Guggenheim Cafe , people watching and catching some sunshine.
6. Making my way back home through the park – it was all so close, yet it takes me away!
5. Walking through the grassy clearings to join the opening of the Young Artist Installation.
46
A DAY A R O UN D T H E G UG G E N H E I M 3.Taking some time to feel the breeze and reflect at the Crow‘s Nest.
Re gardles s of how one desires to move through and around Helsinki Five, each visitor will be submerge d in shif ting p er sp ec tives , engaging in many p oint s of view, as they relate to ar t , space, contex t , cit y and fellow visitor. O f fere d here, a few ins t ances of how one may discover.
1.Enjoying the sights and sounds of Helsinki market and having a delicious salmon sandwich from the harbour market.
2. Exploring breathtaking spaces from the earth to the sky – art like I have never seen before!
47