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Terra Cutura
Terra Cutura
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Terra Cutura
Terra Cultura - the Jyväskylä Music and Art Centre was designed
in 1997 by Kivi Sotamaa and Johan Bettum and later further developed
[2004] in a physical model for the Venice Biennale in collaboration with
Michael Hensel. The design aimed at integrating the cultural and public
programs of the project with each other and the urban setting of the
town, Jyväskylä. In pursuit of this aim the project completed the
historical grid and block structure of the site and extended the urban
surface of the surroundings into the building as the main formal and
programmatic element of the project. The urban surface was articulated
as topographic ground within the site itself and extended vertically as a
structural, folded wooden latticework and circulation ramps. The
structural latticework contained the concert hall and office/exhibition
block in separate, floating volumes on the north-south diagonal of the
site. Between these blocks the latticework and a circulation ramp rose
to make a continuous sequence of gallery spaces within an undulating
veil of modulated transparency.
The transition from urban to differentiated topological space made for a
continuous and smooth differentiation of the building program. In this
sense, the project aimed at achieving an extensive weaving of its formal
and programmatic content with given the urban fabric of the town. The
project was an attempt to create a fresh architectural context for
producing and communicating culture from within an institution in an
urban setting. While the urban surface of the surroundings was extended
and internalised in the building, a counter movement was envisioned to
take place with the activities of the centre that would flow back into
the town of Jyväskylä.
In the age of the electronic media and mass entertainment, the physical
fact and role of an arts institution can no longer be taken for granted.
The project is seen to reflect upon this paradox and tension in the
construction of a large and costly cultural centre. The attempt is to
use the latent power of landscaped surfaces in an urban condition to
create an extended link between the inside and the outside, between the
domain of high culture and the city. This offers a radically open and,
at the same time, protected space for cultural exchange. This exchange
is extrapolated from the building itself to reach into the existing
urban fabric. In this manner the production, show and exchange of
cultural activities would at given times be disengaged from the physical
setting of the building itself and disseminated to wider audience.
The project is configured from three primary elements: 1. A topological
surface which is the extension of the urban surface surrounding the
site, and which folds up vertically into a Liquid Flow Space along the
east- west diagonal. All access ramps and vertical structure spring from
this topological construct. 2. Two floating blocks on either side of
the south-north diagonal of the site. The block towards the south and
the park contains the music facilities, completes the corner of the site
and therefore the urban block and grid structure of Jyväskylä. The two
raised blocks hover on columns that spring from the topological surface
underneath. The external facades of the two blocks facing the city are
flat surfaces. The roof is the same. Towards the inside and underneath,
the outer surface geometry of the blocks are faceted polygons.
The music and arts centre open up underneath to welcome visitors,
professionals, students, audiences and passer-bys to enjoy a planned or
chance encounter with the activities of the centre. Throughout the
passage from outside to inside there is a gradual transition between
categorically different types of spaces. The transition from homogeneous
urban to differentiated topological continues up the smooth ramps that
penetrate the Liquid Flow Space. As the name indicates, this is where
the outside urban condition becomes fully internalised and transformed
into a space with free flow of light and movement. The topological
ground itself is made from concrete and covered with laminar wood
planks. It has a smooth color gradient going from asphalt color at the
street side, via tones of grey and gold towards the middle, to silver
and white ramps reaching the upper level of the Liquid Flow Space.
The columns supporting the floating boxes and making the structural
latticework for the Liquid Flow Space are made from steel reinforced
glue laminated wood. The surface of the columns is treated so that they,
too, produce a gradient from being highly blue-grey underneath the
boxes to becoming yellow and gold for the Liquid Flow Space. The
structure for the floating, closed boxes are from steel reinforced
concrete. The flat surfaces towards the streets are clad with ochre
tinted glass fastened on a steel framework. Underneath and towards the
inside, the faceted polygonal areas of the facades are clad with wood
louvers. Where the room program requirements allow, these louvered
panels operate as windows which allow natural light to flow in. In other
places, the wood covers the necessary insulation and the structure. The
inside of the concert hall box is made from redwood. The series of
spaces constitute a continuous variation on a Nordic mix of sensuous
warm and cool feelings. The Liquid Flow Space is the composite space
made from a steel reinforced wood columnar structure, concrete ramps,
wood covered floor slabs, and a secondary steel frame. The secondary
steel frame is attached to the concrete structure and it carries glass,
louvered wood panels and synthetic fabrics that create the skin of the
building regulate the light inside. The basic composition of the
material elements on the steel frame is striated in multiple directions
which further enable the controlling of views and light to match the
various performative requirements and to generate a variety of dramatic
atmospheres.
in 1997 by Kivi Sotamaa and Johan Bettum and later further developed
[2004] in a physical model for the Venice Biennale in collaboration with
Michael Hensel. The design aimed at integrating the cultural and public
programs of the project with each other and the urban setting of the
town, Jyväskylä. In pursuit of this aim the project completed the
historical grid and block structure of the site and extended the urban
surface of the surroundings into the building as the main formal and
programmatic element of the project. The urban surface was articulated
as topographic ground within the site itself and extended vertically as a
structural, folded wooden latticework and circulation ramps. The
structural latticework contained the concert hall and office/exhibition
block in separate, floating volumes on the north-south diagonal of the
site. Between these blocks the latticework and a circulation ramp rose
to make a continuous sequence of gallery spaces within an undulating
veil of modulated transparency.
The transition from urban to differentiated topological space made for a
continuous and smooth differentiation of the building program. In this
sense, the project aimed at achieving an extensive weaving of its formal
and programmatic content with given the urban fabric of the town. The
project was an attempt to create a fresh architectural context for
producing and communicating culture from within an institution in an
urban setting. While the urban surface of the surroundings was extended
and internalised in the building, a counter movement was envisioned to
take place with the activities of the centre that would flow back into
the town of Jyväskylä.
In the age of the electronic media and mass entertainment, the physical
fact and role of an arts institution can no longer be taken for granted.
The project is seen to reflect upon this paradox and tension in the
construction of a large and costly cultural centre. The attempt is to
use the latent power of landscaped surfaces in an urban condition to
create an extended link between the inside and the outside, between the
domain of high culture and the city. This offers a radically open and,
at the same time, protected space for cultural exchange. This exchange
is extrapolated from the building itself to reach into the existing
urban fabric. In this manner the production, show and exchange of
cultural activities would at given times be disengaged from the physical
setting of the building itself and disseminated to wider audience.
The project is configured from three primary elements: 1. A topological
surface which is the extension of the urban surface surrounding the
site, and which folds up vertically into a Liquid Flow Space along the
east- west diagonal. All access ramps and vertical structure spring from
this topological construct. 2. Two floating blocks on either side of
the south-north diagonal of the site. The block towards the south and
the park contains the music facilities, completes the corner of the site
and therefore the urban block and grid structure of Jyväskylä. The two
raised blocks hover on columns that spring from the topological surface
underneath. The external facades of the two blocks facing the city are
flat surfaces. The roof is the same. Towards the inside and underneath,
the outer surface geometry of the blocks are faceted polygons.
The music and arts centre open up underneath to welcome visitors,
professionals, students, audiences and passer-bys to enjoy a planned or
chance encounter with the activities of the centre. Throughout the
passage from outside to inside there is a gradual transition between
categorically different types of spaces. The transition from homogeneous
urban to differentiated topological continues up the smooth ramps that
penetrate the Liquid Flow Space. As the name indicates, this is where
the outside urban condition becomes fully internalised and transformed
into a space with free flow of light and movement. The topological
ground itself is made from concrete and covered with laminar wood
planks. It has a smooth color gradient going from asphalt color at the
street side, via tones of grey and gold towards the middle, to silver
and white ramps reaching the upper level of the Liquid Flow Space.
The columns supporting the floating boxes and making the structural
latticework for the Liquid Flow Space are made from steel reinforced
glue laminated wood. The surface of the columns is treated so that they,
too, produce a gradient from being highly blue-grey underneath the
boxes to becoming yellow and gold for the Liquid Flow Space. The
structure for the floating, closed boxes are from steel reinforced
concrete. The flat surfaces towards the streets are clad with ochre
tinted glass fastened on a steel framework. Underneath and towards the
inside, the faceted polygonal areas of the facades are clad with wood
louvers. Where the room program requirements allow, these louvered
panels operate as windows which allow natural light to flow in. In other
places, the wood covers the necessary insulation and the structure. The
inside of the concert hall box is made from redwood. The series of
spaces constitute a continuous variation on a Nordic mix of sensuous
warm and cool feelings. The Liquid Flow Space is the composite space
made from a steel reinforced wood columnar structure, concrete ramps,
wood covered floor slabs, and a secondary steel frame. The secondary
steel frame is attached to the concrete structure and it carries glass,
louvered wood panels and synthetic fabrics that create the skin of the
building regulate the light inside. The basic composition of the
material elements on the steel frame is striated in multiple directions
which further enable the controlling of views and light to match the
various performative requirements and to generate a variety of dramatic
atmospheres.
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