1Ceci n'est pas une pipeSynonymous with the interplay between architecture and art the GuggenheimFoundation radically reaffirms that art effects change. Facing the greatest change inits history, Helsinki can reinforce its identity not just for a “cool” tomorrow butthrough long-term sustainable placemaking; Led less by an outside avant-garde andtoday's “radical icons,” and more by a democratic expression of civic values.

In the bidirectional relationship between cause and effect, there is no progress inbuilding “yet another Guggenheim,” no act of “second modernity” of the “risksociety” out of which it comes.

The risk society knows that technology and modernization's negative impacts canno longer be remediated by “technological fixes”; that its most pressing problemsare man-made resources depletion, environmental degradation and climate change.

The logic of high modernism must change from an abiding faith that technologicalinnovation will resolve climate change, to focus on “What's true?” “What can beknown?” and “What's useful?” Second modernity resonates with holistic andflexible human engagement. The Guggenheim must refuse to indulge in a facilerepeat of past successes. It must innovate.

This project finds its inspiration in the borderline between city and port; betweenrespect for tradition and an appreciation of the contemporary; between the localand the whole. It is characterized by interest in true materials and exemplifieshow innovation is about venturing into the borderline to find the edge thatothers may not see.

It is about identifying possibilities where an understanding of tradition meetsopen attitudes, including redefining the words “old” and “new”.

Classical Architecture today is Da-me, “no-good” Architecture, arrived at throughdesperation for the cheapest, most efficient solution requiring minimum effortfor a specific site and uses. It is an antithesis of history and classification,disregarding "good taste" and "our times." It is “imitative and unoriginal,"“disgusting" and "shameless.”

The building's "shamelessness” mirrors the urban condition of Helsinki,epitomizing a new, modern aesthetic that is its natural quintessence.Economical and unspectacular, it is a “pet” to the port and its giant ships - andto Helsinki's urban fabric.

This is a museum without walls, just spaces, offering complete freedom to dowhatever the Foundation wants to do within them. It is both a 'box' and a 'cake;' a'geode,' the infinite internal facets of which are far greater than its abstract exterior.

It is said that it's impossible to replicate nature. This building humbly relies on mastercraftsmanship and skillful engineering. Through simplifying and intensifying artisticpractice the project delicately balances urban, spatial and sustainable variables,highlighting architecture's multi-faceted nature. Depending on the sun and moon, itdramatically varies from expression to minimalism

This project occupies a space of possibility on the borderlinebetween a perspective and an approach, between “what is” andnew potentials. It looks at things from the outside while embracingthe knowledge and understanding on the inside. It is about atransition, of having been something and of being about to becomesomething more. Ceci n'est pas une pipe.

On the waterfront, close to Helsinki's historic center and Tähtitornin vuori Park, the museum provides social and urban revival at the interfacebetween the city and its historic docks. In the City's symbolic gateway to the sea, close by are Market Square, the east-west Esplanadi andSouth Harbor. Ample adjacent shopping and restaurants bring to the site frequent foot traffic.

A high-quality shared space places the building in its context, from around the refurbished Old Market Hall building and extending to themuseum. This outdoor environment maintains and enhances pedestrian and cycle links to surrounding public spaces. day and night, winter orsummer.

The shared space development accommodates arrival by water at the Suomenlinna ferry dock in Market Square as well as visitors from theOlympia passenger terminal passenger Terminal. The tram stop on Eteläranta is just north of the junction with Eteläinen Makasiinikatu. Truckaccess to the port is maintained.The plaza supports museum content as a seasonal exterior sculpture, event and installation space as well aspermanent works of art.

The preconception regarding the museum forecourt conflicts with the natural orientation of the lot which parallels the dock. The forecourt isnot naturally located there but in front of the building. The building fits its surroundings and does not obscure views from Tähtitornin VuoriPark.

• The 10-meter wide port vehicular access is dropped below the shared space for both port and museum security. It is not shared by thetwo.

• The southern end of the museum building adjoins the proposed pedestrian deck and new construction area.• Drop-off areas for taxis and VIPs are easily accessible.• Incorporated in the shared space solution the 5-meter-wide Laivasillankatu zone for pedestrians and cyclists is, from the Old Market toTähtitornin Vuori Park.

• To get to the water, people can go down to the waterfront dock or stay on the upper east façade deck of the museum overlooking the bay.• The shared space organically links to Tähtitornin Vuori Park obviating a costly bridge.

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Collections Storage

and Management

NorthInstallation

Gallery

Multi-PurposeProject Space

Rotunda

SouthInstallation

GalleryN. Sculpture Hall S. Sculpture Hall

Lower LevelGallery

South Gallery 1 of 9

South Galleries 4,5 6 and 7

North Gallery 1 of 4

Kitchen

Offices

PerformanceConference

Backof

HouseLevel1

Proj.

Transl.

Dress'gRooms

GreenRoom

MultifunctionClassroom/Laboratory

N.Vest.

S.Vest.

North Galleries 2 and 3

NorthGallery

4

N. N.Vest.

S. S.Vest.

South Galleries 2 and 3

South Galleries 8 and 9

Ticketing &Information

Coat Check& LockersSecurity

RetailRetail Cafe /

Bar

Restaurant

Building Systems, Mechanical,Maintenance and Operations

Art LoadingDock

Maintenance and

Operations OfficesBack

ofHouseLevel 2

Multi-PurposeProject Space

Rotunda

GeneralLoading

Dock

TrashDock

Plaza Entrance

Bay Entrance

Basement Main Multi-Use Corridor

Staff Entrance

WC

WC

WC

WC

Bay Deck

Parking

Parking and Art Prep SpaceArt Prep Yard

Truck Yard

Bay Promenade

North ExteriorAccess Tower

South ExteriorAccess Tower

Parking Entrance

Security, Retail,and Restaurant

Lobby

Retail Terrace Food Terrace

ArtElevator

ArtElevator

Plaza Level and Parking Access

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RotundaAV Control

and Viewing

RotundaAV Control

and Viewing

RotundaViewing

RotundaViewing

North Installation Gallery

Rotunda

N. Sculpture Hall

MultifunctionClassroom/Laboratory N. N. Vestibule

South GalleriesS. Sculpture Hall

S. VestibuleN. Vestibule S. S. Vestibule

South Installation Gallery

RotundaPit

Staff, Handicapped and VIP Parking Lower Gallery Building Systems, Mechanical, Maintenance and Operations TruckDock

Truck Floor

SouthBay Deck

NorthBay Deck

Daylight and Lighting Control Daylight and Lighting Control

Taller and of larger diameter than the Guggenheim New York Hiercisized spaces for varieties of exhibitions

A complement to the urban fabric and Tähtitornin Vuori Park A natural "Aha" building for Helsiki's South Waterfront

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RotundaAV Control

and Viewing

RotundaAV Control

and Viewing

Rotunda

RotundaPit

Bay Deck

Restaurant andRetail Lobby

Security, Ticketing,Information and

Coat Check

Plaza Level AccessBasement Level Offices

(see plan)ParkingBasementMulti-UseCorridor

PlazaEntrance

Bay DeckEntrance

At the heart of the design, all building spaces are designed and detailed forease of access and use, with inclusiveness for all. The experience of enteringand using the building is the same for all, regardless of age or physical ability.Accessibility is accommodated throughout the building for families and forpeople with special needs.

This building offers an opportunity for the foundation to develop a museum of thefuture with radical, multidisciplinary approaches to engaging new audiences withculture at large. Within the global constellation, the Guggenheim Helsinki would bedistinctive in its active inclusion of design and architecture in its programming. TheGuggenheim Helsinki would become an innovation center for the other Guggenheimmuseums and the knowledge acquired, along with the standards set, would benefitHelsinki, the constellation as a whole, and audiences worldwide.

LogisticsSpace allocations have been made for a secure art truck bay; two supply truck bays forfood, beverage and retail; and a waste truck bay with compactor(s).

MaintenanceThe building is designed for ease of use, cleaning, and maintenance. It is designed tominimize whole-life costs, thereby providing lifetime value. The design takes intomaintenance and cleaning account issues, including: Robust, easily cleaned finishes, easy to patch, in stone, wood and bronze Easily replaced, but with long life expectancy ironmongery, lights, and fittings,

with minimum variations across the building Easily understood and run service equipment, with good and adequate access

space for maintenance Adequate expansion space within accessible “poche” and service ducts to allow

replacement upgrades as systems change.

TrucksSeparate loading bays at the museum service yard for art and general deliveries,include: A secure art truck bay for a combination truck and trailer with overall length of

18.75 meters, a width of 2.55 meters, and a free height of 4.5 meters. The verticalclearance of the truck dock is 5.2 meters. The truck can maneuver into the dockwithout blocking traffic on city streets or from the access route to the port.

Two supply truck bays for food, beverage and retail A waste truck bay with compactor(s).

Parking• A sufficient number of cycle parking spaces are provided for visitors and staff

within the site area and in the garage.• VIP and disabled visitor and staff parking is provided in the basement of the

building

Architecture is asset allocation. Total cost for the building is about €130M,excluding VAT. Assuming €100M for construction and €30M for soft costs,including but not limited to architect, engineering, and consultant fees;necessary testing;performance bonds; legal fees; insurance; and signage. Thisbudget assumes that:• The site is provided in a prepared state.• Costs relating to the replacement port terminal and its associated

infrastructure are not included in the above figure.

CostWhere and in what materials does the Guggenheim wish to place itsinvestment? It is anticipated that this type of construction will come well withinthe construction budget.The disciplines of classic planning and architectureemploy 3D methods of BIM, CNC, drawing, modeling and project managementthat may result in 5%-15% reduction in the cost of Construction Documents andat least 5%-10% reduction in change orders during construction.

Are unaffected by the building or its construction. The upper passengerterminal deck connects directly to the southeast exterior elevator and staircore.

The museum design is sustainable and in harmony with its surroundings Far beyondanything built in the past 75 years. The building is design for 200 years with nomaintenance required for the first 50. Consequently, the design by far exceeds LEED Goldstandard or equivalent for sustainability.The building reduces the environmental and health impact of the building by: Minimizes the energy demand for cooling, heating, and lighting - thick walls;

minimal openings Maximizes efficiency, use of renewables, and use of alternative forms of energy -

solar roof panels, and wind generators are integral - and obscured for the samereason we put toilets behind partitions A cistern collects and stores water for indoor use and irrigation Preventing light and noise pollution are integral to the design: no external LEDs on

face of building; all light shows reflected off its surfaces Passive solutions are employed integrally in all systems possible, including but not

limited to solar shading, stack-effect cooling, etc. Automated, low-tech, double, single-glazed, operable windows, ensure the building“breathes”, the mechanical systems are minimized, internal air quality is maximizedand the necessary temperature and humidity are maintained for the art.

As new business and service ecosystems are developed, bioeconomy is the foundation ofsmart and green growth and modern building construction. Bioeconomy requires a newway of thinking and operating, the making of choices, the taking of risks, and thedevelopment and use of bioeconomy-based technologies throughout the innovationchain. It involves radical changes to production methods, to the use of raw materials, andto living habits in general. Bioeconomy provides an answer to many of these challenges.Of all places, Finland's competences and raw materials, make it a natural leader inbioeconomy, to create success and wellbeing for itself.In addition to the careful use of the best materials, the best stone, the best metals,non-ferrous to withstand corrosion, an inspiring and innovative way of using one ofFinland's greatest resources, timber, is in the interior. Finishes are wood, with woodgallery floors, wood ceilings, wood mouldings and wood paneling. Naturally, interiordoors and windows are of wood; exterior ones, bronze. Fiber materials, liquid biofuels,bioenergy, biochemicals, bioplastics, and biocomposites, will be considered in stage II.

Traditional design is scientifically proven to increase the physical well-being ofoccupants and visitors.

The building's indoor environment is, a-priori, of the highest quality. As a baselinethe building's indoor environment conforms to the requirements as stipulated byFinnish law. It is reached for the most part passively and augmented by mechanicalsystems.

Aside from a generosity of space for both public and functional areas of the museum,skylights for natural daylight in gallery spaces are maximized and carefully modulatedwith scrims, to avoid direct sunlight .

Views from the building are equally as important as those to the building from thesurrounding city. Bay views are maximized.Acoustics are carefully composed based on the harmonics of well-proportionedspaces and the effects of the various finish materials, making use of their naturalacoustic qualities.

The maritime location demands a simple building to withstand strong winds, increasedhumidity and its associate - corrosion. Cycles of freezing and thawing demand thedurability of the structure and its primary material - stone. Precious daylight is in conflictwith curatorial directives for lighting.

Ground conditions: The quayside area is approximately +2.5 meters above sealevel. Basement truck dock is at 1.5 meters above sea level and interior spaces at 1.8meters, both of watertight construction.

Site reconditioning can use in-situ bioremediation can last as long as necessary using theBuras method such that construction and use of the building can take place while oncethe remediation system is in place. Topsoil removed from the site can be remediated inmounds during construction. It is estimated it will be remediated in 2-3 years.

Assigned and unassigned spaces:All of the main level with the exception of the entrances, stairs, elevators and toiletsare assigned spaces. Connective spaces are themselves galleries, part of a hierarchy ofspaces devised to be used as the client wishes for the various exhibitions it anticipatesover time. Appropriate space for outdoor exhibitions and dining are provided as partof the design.

ExhibitionsGallery spaces are flexible and contiguous. Wall thicknesses are such that all electricaland IT conduits and closets can be absorbed in the fabric without impacting thespaces; while perimeter walls can be used for the distribution of wiring or structuralreinforcement of heavy artwork.

Exhibition galleries can be combined or divided as needed. Rather than imposingbehavior, they address the installation of new media work by leaving the installationand innovation to the curators, the artists and technicians who are at the forefront ofever-changing technology.

1. The spaces are permeable, with walls that can be added or removed as needed inorder to create both large and intimately scaled spaces.

2. The main gallery spaces have doors to isolate the galleries visually andacoustically during exhibition changeovers.

3. There is no direct sunlight into the exhibition spaces, and controlled naturallighting can be “turned on” in conjunction with exhibition lighting.

4. The ground-level museum floor has a structural capacity of 1,500 kg/sm.5. Gallery floors are drillable for the installation of art and incorporation of

temporary walls.6. Outdoor spaces can be used for the display of sculpture and architectural

interventions. Outdoor projects may be reimagined annually.7. The strong natural flow and integration between outdoor and indoor exhibition

spaces, takes into consideration the climate and winter darkness.

Rotunda for Programs and EventsThe large, flexible clear space of the multipurpose zone can be configured in multiplelayouts to support various support performances, lectures, or events. It is integratedinto the museum's interior layout and flow and adjacent to the exterior deck, as wellas windows that overlook the bay. It is visible from different vantage points within themuseum and could have good natural light but is capable of being transformed into ablack-out space. Its floor and ceiling are completely flexible and can be raised andlowered substaintially

Blackbox Performance/Conference hallThe blackbox Performance/Conference hall seats 272 with the flexibility toaccommodate concerts, recitals, lectures, film, new media, conferences, andsymposia. Support spaces include a movable stage and seating storage, a control roomand simultaneous translation booth, dressing rooms, and a green room.

Classroom/LaboratoryA flexible space for visiting groups, both children and adults. The space shouldaccommodate at least thirty people and support the use of all media.

RetailThe retail and food service are integral to the museum but can be operatedindependently and can stay open late during the summer months. The retail store isan attraction in itself - for its merchandise featuring items reflecting Finnish idealsfrom Finnish designers, in addition to museum-related merchandise, exhibitioncatalogues, other books, and other items.

DiningThe formal restaurant and large cafe/bar on the main floor open directly to the patiooverlooking views of the bay. The capacity of the cafe is 120 indoor covers withadditional 100 person outdoor seating. The formal restaurant serves 55 covers.

The shared kitchen is located in the basement, freeing the main floor for gallery andvisitor uses, and directly serving staff which are mostly located in the basement.

The kitchen includes catering preparation and staging areas, refrigerated refuge store,food storage, and staff office areas.

Coat check:Includes self-service lockers as well as a staffed coat-and bag-check counter. Thespaces should be generous in size in consideration of the winter climate.

Collections storage and managementClimatized, uncrating and staging areas as well as on-site storage conservation and artpreparation for temporary exhibitions. Staff for these functions, along with theregistrar and exhibition-design teams, work in shared open-office/studio spaces.

OfficesDepartment heads and directors, have private offices, and staff work in open officespaces with shared conference rooms and a central file and work room. Appropriatemeeting and resource space, break-out, kitchenettes, print rooms, are provided.

Visitor Circulation and ServicesExhibition Spaces

Art Handling, Shipping, Exhibit PrepPerformance, Lecture and Classroom Spaces

FoodRetail

Toilets

Staff Offices and CirculationMechanical, Maintenance, Systems & Operations

Outdoor Promenade, Deck and Circulation

Security

Port Truck Access