A-D MUSEO Helsinki

Competition

Innovation

The formal language of the load-bearing facade, including its openings, is derived from floating ice floes.

The realization of such geometry in a curved plane, unlike the idea of the vase, is complex to model. It gave MIXD the opportunity to add the advanced parametric modeling tool Grasshopper to its own skillset.

After defining the “ice floes” as polygons, the simulation of the floes’ drifting apart and random rotation follow sequentially. Then they are pushed together again in a so-called collision-collider process. Then the “joint” between the floes was widened by shrinking the polygons in size. The thus obtained field of polygons was extruded into volumes and then projected onto the façade and subtracted from the curved façade volume through a boolean operation, with the result below.

At this point, the first objective was successful.

Next, the following questions had to be answered:

” The main architectural solutions of the proposal and its integration into the urban landscape, as well as the vision for the future museum building:
– How does the museum building take into account the different museum users and create a sense of elgenicity for the different visitors and stakeholders?
– What is the museum experience like and how can the entire building be used to present architectural and design content in an innovative and adaptable way?
– What does the audience see, feel and take away from a museum visit?
– How does the proposal take into account the aspects of environmental, social and economic sustainability? ”

Ultimately, those questions were answered in the design below:

Urban incorporation

The glazed volume of Aalto’s vase fits well on the site, at a pivotal point of the Maksiniilaituri.
Three types of curved glass are used for the cladding: transparent, white and reflective, giving the building a durable skin that alternately mirrors its surroundings and displays its contents. The natural cycles create a frivolous and elegant play of light, movement and reflection:
• Day/Night: when dusk sets in, the building lights up like a cheerful beacon.
• Summer/Winter: in summer, the memory of the winter landscape is present in the facade. In winter, the white glass coincides with the (mirrored) snow on the quay.

Spatial structure

In the building, the spatial organization and construction follows from the division of the floor plan into a cruciform zoning (two intersecting “interior streets” between 18 m. high walls). This organization is enclosed by the building envelope. The “inner streets” form the heart of the building, around which the floor fields are formed. Floor fields were given local voids to enhance the experience of internal spaciousness and adventure for the visitor.
At the ends of the inner streets are characteristic components such as a city balcony on the square with the central entrance, a monumental stairwell, a viewpoint towards the fortress island and a natural stone polished curved wall. A ramp (green) runs from the 1st floor toward the city balcony.

Exhibition gallery with ramp

The ramp offers, also for the disabled, an adventurous experience with a view of the changing exhibitions inside and of the sea and quay outside.

In the construction of the façade, not all polygons are used to create windows; the wooden (CLT) façade was opened or closed according to the desired amount of light, view frames, support structure and existing floor fields. The facade system is thus also flexible for adaptation to future requirements.

Main entrance

The main entrance is located on the square, under the urban balcony. Via the stairs, or balcony, the secondary entrance is reached. This is used for themed exhibitions or, for example, gala openings. The requested lifting beam protrudes perpendicularly from a mirrored underlay beam, its function camouflaged in the clouds….

Entry, central hall (atrium)

The central entrance on the first floor starts in a low, horizontal space. To the right beckons the shop, to the left the large exhibition gallery. Right in front of the visitor, the space of the atrium rises to great heights.

References such as city, cathedral, crossroads are recognizable.

The focus here is the encounter, between man & man and man & design. The focus is therefore on the essence of architecture: visual tranquility, space, rhythm, light and local materials (natural stone, wood).

Exhibition gallery, large hall

The exhibition gallery is also provided with a high space on the second floor (the briefing rather sparsely assumes a single large hall). Exhibition gallery floors meander (also on floors) around the cross-shaped atrium. Wooden floor partitions consisting of vertical balusters meander along and make the museum visit an adventurous experience.

Internal organization

The organization of program required that much space on the first floor was taken up by logistical components such as loading docks and quarantine space. It was chosen to modify the given logistical scheme to allow the café-restaurant to open to the quay, facing southeast. Back office functions and exhibition workshops were carefully incorporated into the plan..

Facade and section

Submission requirements

The format of the submission was strictly defined (e.g., adding additional images risked disqualification). The required renders, floor plans, two facades and sections had to be depicted on twelve A3 pages. MIXD’s complete submission can be downloaded as a PDF (50 Mb) here: click here.

Response to jury selection

The jury admitted to the second round five designs that all conflicted with conditions from the briefing. The controversy over them is archived here: click here.

The briefing stated, among other things: “the building design should support the Institute’s ambition to reconsider and rewrite the definition of a museum, as outlined in Section 3.1. Vision of the AD Museum.” and ” The museum’s architectural identity should be innovative and surprising”.

From this goal and the jury selection made, MIXD concludes that what was modern in 1960 is now considered groundbreaking in Finland. By the end of 2025, it will become clear how they plan to attract (international) visitors with the “unique museum building that will be a public attraction that further defines Helsinki as a destination for architecture, design, art and culture.”

It is not unusual for architectural competitions to end in such controversy. And this site already had a dubious history in this regard. That the competition organization does not seem intent on correcting the jury is reason for MIXD to lift anonymity and make this presentation public sooner.

The reason for participating was not to win the assignment, but to increase the skillset and test the design approach for employability and compare it in the field. This intent succeeded.

The result shows an aesthetic and design approach of MIXD in relation to a current design issue. This, too, was successful.

As a whole, this brings the story to a positive conclusion for MIXD, which is celebrated on this page.