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Guggenheim Helsinki
Guggenheim Helsinki
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Other Projects by Architecture 53seven
Guggenheim Helsinki
Firm
STATUS
Concept
The design imagines a number of spatial and atmospheric constellations that are engaged with the particulars of site and place; and thought capable of instilling a sense of intrigue with the visitor and passer-by. The Guggenheim Museum- situated amongst a number of urban-natures explores the passing of time and the resultant atmospheric conditions that come with the particularities of the local maritime environment and the transitioning nordic weather systems.
It is designed as though it has already been inflected by these systems- of wind, sea-mist, and changing weather systems. In many ways, the design evokes these many fields near-simultaneously; and the choices of materials and other constructional pallettes engage and extend these evolving states of nature. In a similar way, the building form evokes several states of transition; and like the wider constellation that it the Guggenheim network (New York, Bilbao, the future Adu Dhabi)- it is steadfastly active and mobile. This ambition is realised at the wider scale of the site, and in the detailed internal organisation of the building itself. The overall building morphology on site is set-out and calibrated against a local field of important urban fragments, and the overal form is made particular by establishing a vertical matrix with the spires of Helsinki and Uspenski Cathedral, and Pulkoco Observatory in the nearby Tahitornin vuori park.
The predominant plan arrangement is established along a northwest-southeast alignment, and is set back from the waters edge of Eteläsatama (South Harbor), and forms a series of transitions through the site which extends the urban space networks from the Olympia Terminal to Market Square and thereby connecting into extends the Esplanadi, and the centre of Helsinki. The wider geometrical configuration of the building is seen an a conflation between the convergence of the regulating urban grid form of the city and the more natural edges of the Harbor. Through the alignment of these forces, it is intended that the visitor to the Museum will register those systems that are active within the city- and thereby situate and particularise their experience to the building. It is similarly thought that the registration of environments (spatial and immaterial) would continue and they move in-and-out of the building’s internal spaces and environments. And, what the interior thus imagines is a vertical extension by the visitor into a sequence of distinctive spaces- where they come in contact with an array of material that is both part of the exhibitions and part of the wider setting within Helsinki. What therefore occurs for the visitor, is something that might be described as an ‘enmeshed-experience’; it is one that is interested in stimulating their senses, and actively situating them within the particularities of the place and its wider contextualising network of systems and environments.
It is designed as though it has already been inflected by these systems- of wind, sea-mist, and changing weather systems. In many ways, the design evokes these many fields near-simultaneously; and the choices of materials and other constructional pallettes engage and extend these evolving states of nature. In a similar way, the building form evokes several states of transition; and like the wider constellation that it the Guggenheim network (New York, Bilbao, the future Adu Dhabi)- it is steadfastly active and mobile. This ambition is realised at the wider scale of the site, and in the detailed internal organisation of the building itself. The overall building morphology on site is set-out and calibrated against a local field of important urban fragments, and the overal form is made particular by establishing a vertical matrix with the spires of Helsinki and Uspenski Cathedral, and Pulkoco Observatory in the nearby Tahitornin vuori park.
The predominant plan arrangement is established along a northwest-southeast alignment, and is set back from the waters edge of Eteläsatama (South Harbor), and forms a series of transitions through the site which extends the urban space networks from the Olympia Terminal to Market Square and thereby connecting into extends the Esplanadi, and the centre of Helsinki. The wider geometrical configuration of the building is seen an a conflation between the convergence of the regulating urban grid form of the city and the more natural edges of the Harbor. Through the alignment of these forces, it is intended that the visitor to the Museum will register those systems that are active within the city- and thereby situate and particularise their experience to the building. It is similarly thought that the registration of environments (spatial and immaterial) would continue and they move in-and-out of the building’s internal spaces and environments. And, what the interior thus imagines is a vertical extension by the visitor into a sequence of distinctive spaces- where they come in contact with an array of material that is both part of the exhibitions and part of the wider setting within Helsinki. What therefore occurs for the visitor, is something that might be described as an ‘enmeshed-experience’; it is one that is interested in stimulating their senses, and actively situating them within the particularities of the place and its wider contextualising network of systems and environments.
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