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Guggenheim Helsinki Competition
Guggenheim Helsinki Competition
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Other Projects by WTA Design Studio
Guggenheim Helsinki Competition
This is an exploration of architectural infinity. If form defines space by giving it shape, then form sets its limitation. Taken that into context, formless equates to limitless which implies infinity.
Building envelope is often defined by either the functions of the interior spaces - as the circulation of Guggenheim New York shaped its spiral mass - or an inclination towards a symbol - as Guggenheim Bilbao is historically derived from a fish, and Guggenheim Abu Dhabi is inspired by traditional Middle Eastern wind towers.
But program and symbol are static elements that result to a form. For the design to be formless it should be directed by something dynamic. Thus, Guggenheim Helsinki is molded by the exterior environment, augmenting its function.
Surrounding the site are tramways , roadways, bike lanes, and the Olympia Terminal serving as arteries that enliven the adjacent market square, Tähtitornin vuori park, and the entire Eteläsatama. The new museum exudes this same positivity - enriching foot traffic through an accessible porosity and a relatable scale.
Its neighbors crawl inside integrating the functions and becoming part of their programs while being sensitive to elevations and visual immensity. It is a loop which the environment animates the museum which in turn amplifies its programs.
It is a result of the incidents of site, environment, program, and movement where the dynamism of life occur. The surroundings become the skin, movements become the shape.
Architecturally, this is achieved by breaking down the overly-defining solid mass into small scattered precincts to disperse focus. These precincts are clad in mirror - planes facing out reflect its adjacent surroundings, those facing each other reflect infinity. The Finnish wood structural elements add to this visual feat - distorting reflections, amplifying infinity. It changes with time and its environment. It symbolizes Helsinki not by a form but by dynamically reflecting its life - an icon freed from form.
Building envelope is often defined by either the functions of the interior spaces - as the circulation of Guggenheim New York shaped its spiral mass - or an inclination towards a symbol - as Guggenheim Bilbao is historically derived from a fish, and Guggenheim Abu Dhabi is inspired by traditional Middle Eastern wind towers.
But program and symbol are static elements that result to a form. For the design to be formless it should be directed by something dynamic. Thus, Guggenheim Helsinki is molded by the exterior environment, augmenting its function.
Surrounding the site are tramways , roadways, bike lanes, and the Olympia Terminal serving as arteries that enliven the adjacent market square, Tähtitornin vuori park, and the entire Eteläsatama. The new museum exudes this same positivity - enriching foot traffic through an accessible porosity and a relatable scale.
Its neighbors crawl inside integrating the functions and becoming part of their programs while being sensitive to elevations and visual immensity. It is a loop which the environment animates the museum which in turn amplifies its programs.
It is a result of the incidents of site, environment, program, and movement where the dynamism of life occur. The surroundings become the skin, movements become the shape.
Architecturally, this is achieved by breaking down the overly-defining solid mass into small scattered precincts to disperse focus. These precincts are clad in mirror - planes facing out reflect its adjacent surroundings, those facing each other reflect infinity. The Finnish wood structural elements add to this visual feat - distorting reflections, amplifying infinity. It changes with time and its environment. It symbolizes Helsinki not by a form but by dynamically reflecting its life - an icon freed from form.
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