guggenheim museum helsinki...

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siteplan l 1:2500 URBAN CONCEPT For the Guggenheim Museum in Helsinki, we propose a polygonal museum, whose geometry was derived from the context and sits confidently at the harbor. The shape completes a strong urban accent and complies with its prominent location on the harbor meet. The design takes on the edge of the Eteläinen Makasiinikatu road and defines together with the old market hall a public square in front of the Palace Hotel. In addition, the planned pedestrian deck is taken into account along the Laivasillankatu and the Port Access through the museum site. An important part of our design is to create an urban link between the old town and the new museum and a natural connection between the sea and the Tähtitornin vuor Park. ARCHITECTURAL CONCEPT Our design is based on the idea to build a house for the arts, a "house of rooms". We payed much attention to the desire for openness and accessibility of the building by regarding the security and control aspects. At the same time, the museum should be a place of interaction but also of reflection in relation to art. The design emphasizes the public nature of the ground floor. The museum body forms in the ground floor a spacious passage, holding public uses like dining, retail, visitor services and a performance/conference hall. Thereby it produces a linear connection between the old town and the harbor area. The passage as a public space is the open gesture of the museum: Due to its location and accessibility it can be used outside the opening times of the museum and fills the museum area with life. It therefore enhances the identity of the Guggenheim Museum. The passage follows the creative ductus of the exhibition spaces, whereby the character of the building is already understandable while entering the museum. In addition to the programmatic task it enhances the orientation of the visitor in the house. It also serves as an exhibition space for the presentation of spatial art or as a foyer for events. From the natural light flooded passage, the higher exhibition galleries loop around the central circulation core. The visitor begins his museum experience beyond the exposed escalator in the passage up to the arts – up to the light. The museum route meanders through the terraced exhibition galleries and the multi-purpose room over stairs back into the passage. The result is an internal cycle, which enables easy orientation. The space-sequential benefits from the changing floor heights and offers different spatial experiences. GUGGENHEIM MUSEUM HELSINKI GH-50574365

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siteplan l 1:2500

URBAN CONCEPT

For the Guggenheim Museum in Helsinki, we propose a polygonal museum, whose geometry was derived from the context

and sits confidently at the harbor. The shape completes a strong urban accent and complies with its prominent location on

the harbor meet. The design takes on the edge of the Eteläinen Makasiinikatu road and defines together with the old market

hall a public square in front of the Palace Hotel. In addition, the planned pedestrian deck is taken into account along the

Laivasillankatu and the Port Access through the museum site. An important part of our design is to create an urban link

between the old town and the new museum and a natural connection between the sea and the Tähtitornin vuor Park.

ARCHITECTURAL CONCEPT

Our design is based on the idea to build a house for the arts, a "house of rooms". We payed much attention to the desire for

openness and accessibility of the building by regarding the security and control aspects. At the same time, the museum

should be a place of interaction but also of reflection in relation to art.

The design emphasizes the public nature of the ground floor. The museum body forms in the ground floor a spacious

passage, holding public uses like dining, retail, visitor services and a performance/conference hall.

Thereby it produces a linear connection between the old town and the harbor area. The passage as a public space is the

open gesture of the museum: Due to its location and accessibility it can be used outside the opening times of the museum

and fills the museum area with life. It therefore enhances the identity of the Guggenheim Museum.

The passage follows the creative ductus of the exhibition spaces, whereby the character of the building is already

understandable while entering the museum. In addition to the programmatic task it enhances the orientation of the visitor in

the house. It also serves as an exhibition space for the presentation of spatial art or as a foyer for events.

From the natural light flooded passage, the higher exhibition galleries loop around the central circulation core. The visitor

begins his museum experience beyond the exposed escalator in the passage up to the arts – up to the light. The museum

route meanders through the terraced exhibition galleries and the multi-purpose room over stairs back into the passage. The

result is an internal cycle, which enables easy orientation. The space-sequential benefits from the changing floor heights

and offers different spatial experiences.

GUGGENHEIM MUSEUM HELSINKI GH-50574365

Classroom/

Laboratory

Flexible

Performance/

Conference Hall

MULTI PURPOSE ZONE

Technic

Coat

Check/

Lockers

Kitchen

Restroom

Museum and Design Store

Stock

Room

and Offices

Cafe/ Bar

Equip./Furniture

Storage

RETAIL

Art Loading

Dock

PROGRAMS AND EVENTS

VISITOR SERVICES

DINING

MAINTENANCE AND

OPERATIONS

Restaurant

Technic

Technic

Storage

Control Room/

Projection Booth

Void

Void

Void

Void

Void

Void

Void

Visitor

Screening/

Bag Check

Ticketing

+ 24.50

+ 12.60

+ 7.60

+ 1.00

+ 21.50+ 18.90

+ 10.00

+ 4.30

GUGGENHEIM MUSEUM HELSINKI

section I 1:500 elevation east I 1:500

external visualisation

internal visualisation 1 floorplan I 1:500 2 floorplan I 1:500

ROOMS FOR THE ARTS

In our approach, day light is crucial for the design of the gallery spaces. Due to the natural

qualities of the changing daylight the awareness of nature is introduced into the abstract

environment of the museum. With the arrangement of all the exhibition galleries on the upper

floors, our design optimizes the potential for the natural lighting of the gallery spaces through

skylight ceilings and windows.

The helical stacking of the floors allows to accommodate internal uses in the resulting lower

mezzanines, e.g. offices, conference rooms and art storage. The entire house is organized in a

way that internal and public space areas are clearly separated.

GH-50574365

elevation north I 1:500

OFFICES

COLLECTIONS STORAGE AND MANAGEMENT

EXHIBITION

EXHIBITION

TechOffices

Shipping/

Receiving

Crate

Storage

Uncrating/

Staging

Shared Art Prep/and

Equipment Storage

Art Storage

Void

Void

Void

VoidMarketing/

Development

Offices

Shared

Work Room/

Copy Room/

File Storage

Curatorial, Exhibition Design,

Publications, Archivist Offices

Administrative OfficesConference

Rooms

Education

Offices

Void

Locker Room

EXHIBITION

elevation west I 1:500

external visualisation

3 floorplan I 1:500 4 floorplan I 1:500

The terracing of the exhibition galleries allows clear visual sightlines and views related to the environment and facilitates the

orientation, while the different spatial experiences of the exhibition areas accompany the visitor on his path. The gallery

spaces offer views in four directions and include the environment of the city of Helsinki into the exhibition experience itself.

The old town, the sea, the park and the harbor are part of the exhibition and thus illustrate the strong connection of Finland

between architecture and nature. This close bond is strengthened further through the use of wood in the public passage

facing the harbor. This gives the passage a special character and embeds the museum in the historical context of Helsinki.

GUGGENHEIM MUSEUM HELSINKI GH-50574365

internal visualisation

elevation south I 1:500

external visualisation

ENERGETIC APPROACH - BUILDING

The warm winter protection is best achieved by a substantially closed structure in two-peel-like construction with thermal

insulation of ≥ 25 cm strong. When summer heat protection prevent mass full, not diagonally extending, transparent vertical

components with an external sun protection a large heat input. The horizontal transparent areas are designed so that while

high-quality diffuse daylight, but little heat is introduced into the space. The building is created in massive construction,

while the thermally effective building mass is maximized by the massive interior walls. Also the elevated hollow base is

formed by a strong screed so that it has a massive impact. In this case, the mass of the subfloor must be paid in addition by

the formation of an air pressure leading to soil thermally efficient building mass. The entire cubic volume is formed in a high-

density design, so is the uncontrolled natural air change minimized.

LIGHT CONCEPT

There is only one light. The light refers to the contents and intentions - a Sous-text to some extent, which may not stage

itself. The atmosphere that creates the light is complex and central to the nature of perception and the quality of the study

of space and object. Daylight and artificial light are guided and arranged the room and the perimeter walls will get the same

light. The visitors and the works are in dialogue. The natural light, which is effective through light ceiling and a side light,

changed over the course of the day its color temperature and so brings a dynamic component in the exhibition rooms. It

can be filtered by control systems as required, scattered or completely hidden and mixed with artificial light.

The artificial light works among others with the precisely controlled propagation mode of the light diffusely - from diffuse to

selectively. This fine accents are possible, mitigated disturbing shadows and glare avoided. The use of filter technology

allows for shading the light color and thus allows a signal depth of the exhibits in the room. With good lighting tool room

scenes are subtly controlled.

The perception of color and texture, whether is of central importance in architectural or museum context. The lower the light

intensity, the more difficult it is to color perception. In addition, the visual perception of humans in artificial light range is

different in daylight. The protection of the exhibits is a top priority. The architectural concept is, in principle, two types of

gallery space before: rooms with light ceiling on the second floor and rooms with sidelight on the first floor.

FIRE PROTECTION

The building has a total of three equally massive across the entire floor plan distributed escape staircases on a sufficient

number of escape routes. The stairs are located in the cores and merge in the ground floor directly outside. From the multi-

storey passage is fled through outlets on the ground floor and through openings in the roof of the smoke extraction is

ensured.

Space conditioning and climate concept

To meet the high demands on room air hygiene, temperature, humidity and energy consumption of the required outdoor air

flow is minimized. The supply and removal of heat is consistently made on a component activation with water-carrying

pipes, the thermo-active building systems lie in the ceiling area to respond quickly to the bottom reinforcement, while the

tubes of the wall areas are made deeper in the wall of mounting reasons for the pictures. The cavity behind the luminous

ceiling is with recirculation units in addition to the thermally activated components also thermally managed, reaching in all

areas surrounding a room temperature near surface temperature and so the required constant indoor air conditions are set.

Peak loads can be removed via a variable volume flow of the ventilation system.

The air is post-conditioned room by room, to meet the individual needs of each room. The air flow in the exhibition spaces

via a push back with slot skipping in the wall area through which the air as displacement ventilation is passed in the room.

Because over the air only low heat loads must be dissipated, and the temperature gradient between the floor and ceiling

will remain minimal, which accomodates the desired temperature homogeneity in the spaces. The exhaust air is discharged

in rooms with ceiling light on a vacuum light in the ceiling by above provided joints and thus also contributes to the heat

output of the cavity behind the luminous ceiling.

In rooms without ceiling light in the air-clad brand channels is dissipated in the hollow bottom of the floor above.

MATERIAL AND FACADE

For the facade, we propose as a formative material concrete. The material locates the new Guggenheim Museum as a

tower of strength in the historical context of Helsinki's harbor - it stands for continuity. The large window and entrance

openings set a playful accent to the strict, repetitive surface structure, they follow in their arrangement the inner principles

of organization of the house. The windows are high quality fixed glazing with aluminum frame.

The roof area is covered with filled slabs of cast stone, which is mixed with natural stone. As the skylights are the

technology areas in the roof under a structure of fixed, enameled glass louvers with integrated photovoltaic elements. For

the walls and stairs we propose the use of large-format natural stone staggered cast stone elements. For the ceiling in the

passage we propose finnish wood that emphasize the public nature of the space in relation to the art galleries.

Exhibition rooms with ceiling light

The exposure of the rooms with natural light via a diffuse luminous ceiling that draws the incoming light soft. About three

meters above a horizontal glazing is for weather protection and thermal envelope of the building. This glazing sustaining a

powerful UV filter and a diffuse intermediate layer to the scattering of the incident light.

The control of daylight is achieved by two separate systems:

- External fixed louvres provide solar shading. They are equipped with pholtovoltaic

- Internal, motorized adjustable louvres allow precise control of light intensity to a complete blackout of the rooms

Showrooms with sidelight

Depth, vertical mullions protect this space already largely from direct sunlight. Against the remaining direct sunlight and

excessive exposure and overheating an External solar protection is used.

These windows are also equipped with powerful UV filters in the glass structure. A matte, internal aperture is also used here

to produce a softer and more even light inside the rooms for painting and drawing exhibitions. If necessary, temporary

panels can be used for blackout purposes. The perception of colors is defined in large part by the choice of the light source.

Therefore, the choice of lamps is of central importance. All luminaires are built on a digital control system individually

addressable and controllable. It is thus possible that strong light for any wall, or each wall portion precisely adapt to the

needs. The extensive controllability of artificial light and daylight can equal massive diffuse to accentuates any presentation

form - of the same massive diffuse to accentuated.

GUGGENHEIM MUSEUM HELSINKI GH-50574365

District heating or seawater with heat pumps