Guggenheim Museum Helsinki – Project description

The leitmotiv of the Guggenheim Helsinki Museum is the 9 Square grid. One of architectures most fundamental problems is scrutinized for an alternative approach, which understands the compartmentalization of space as a set of tools, or objects enveloped in a massively articulated wrapper.

In John Hejduks tradition of the 9 Square Grid problem the project echoes elements of architectural production present throughout history such as the Villa Rotonda, the Neue Nationalgallerie and the Kunsthistorisches Museum Wien. All of which utilize the 9 Square Grid as device to explore the subdivision of space, or the corruption of the same. All the examples are unified by another intrinsically architectural condition: symmetry

The project exploits the opportunities in this concept in order to achieve two specific qualities: On the one side it considers the spatial condition in the interior too be tightly knotted to the nine fold division of space, the objects in between (such as large exhibition areas, the offices etc.) however are of a highly flexible nature. In other words, only the main division walls of the 9 Square Grid are massive, spanning up to 24m of space – whilst all the subdivision walls in between are highly flexible, allowing for the maximum of freedom in terms of exhibition designs. The project design allows for a twofold experience of the exhibition areas: The core of the exhibition areas allow for a fast circulation, for a quick visit. The ring of smaller galleries around the core galleries allows for an expanded, longer visit.

This concept pays respect to John Hejduks Ideas to use a grid containing a Kit of Parts, the main difference being the heretic assimilation of the modern grid by voluptuous organs, ingesting the pure utilitarian rational and simultaneously interrogating them. The motif of object articulation spans from the entrance of the museum landscape to the ceiling of the building.

A quick walk through the museum:

The project is contextualized in a sensible way. When approaching the museum, the project assimilates itself into its environment, aided by the intricate quality of the objects exterior. The scale of the surrounding buildings resonates in the bulges, pinches, seams, pleats and edges of the main volume of the museum. The coloration of the museum, Carbon and Meissen white, create a series of sophisticated visual effects depending of the distance to the object. The variation in the façade of mass and micro perforations for example, allows for varying visual impacts depending on night and day as well as summer and winter. In winter, the Carbon stripes are intended to generate an impression of floating stripes. Carbon can be understood in a literal way, as the black stripes consist of carbonized Finish wood, charcoaled to achieve the deep black color.

Ehrenhof

Approaching the museum from the tramway station the first element a visitor encounters is the sculpture garden. It is intended as Ehrenhof for the museum. A series of water ponds interrupts the access to the museum, creating a meandering way to the entrance of the museum. The water ponds form an integral part both of the presentation of sculptures as well as in the recreational qualities of the museum landscape. The park includes a small exhibition pavilion which can be used for special occasions or can be rented out by the museum for product launches, fashion shows, book presentations etc., with, or without the museums infrastructure.

Entrance

The main entrance to the museum is on the north side. A generously glazed entrance reveals immediately the view to the Museum Café (to the left) the Museum Shop (to the right) and the ticket boxes and wardrobes (to the center). Museum Café/Restaurant as well as the Museum shop are accessible from the interior as well as the exterior of the building, making them independent of Museum opening hours. The rest of the ground floor is occupied by the multipurpose hall, special event space and the back of house.

The back of house is organized in a strict way, utilizing a broad core corridor, which allows to move art easily and efficiently. Left and right of this corridor are all the main units of the back of house area. Emphasis was given to the security of the art and the possibility to create a strict separation between the areas dealing with art and the areas dealing with kitchen services (clean and dirty areas)  

Feststiege

After the visitor pays his ticket he can deposition his coats and bags in the adjacent wardrobe area -before passing through security. In order to make visitors comfortable the security check has to be very discreet, rather using remote methods of control (facial recognition, computational threat assessment) than airport security gates. Benches behind the security area allow to sit down while waiting for friends, or guided tours. The Feststiege, the grand staircase, forms the centerpiece of the ground floor and the heart of the entire design. The space formed as a sandwich behind the baroque stair and ceiling, serves as children area, an exciting cavern open for exploration by the kids. Multiplicious architectural elements throughout the house have their formal origin in the stairs design, such as bridges, rails, pedestals etc. the ceiling of the ground floor echoes the stairs design, introducing a discreet perversion of the 9 Square grid in form of an octagonal geometric condition. The undulating ceiling not only serves a guiding device for visitors but also serves as light and sound diffusor.

Exhibition

Once arriving in the second floor the view opens in all diagonals, making it instantly possible to grasp the dimensions of the museum, as well as facilitating the orientation in the museum. The organization of the museum allows to close up specific areas with ease, either to change the exhibition, or to dedicate specific areas to specific exhibitions. The majority of the exhibition areas are organized on the second floor. The whole design presents itself as a rather low-slung condition for two main reasons: to make use of natural light from above as much as possible, as well as to adapt to the surrounding urban texture. The ceiling of the exhibition area utilizes a high degree of articulation, of pattern and ornament, as highly efficient light diffusion objects. The folds, creases and plies of the ceiling panels help to distribute the light from top to create a smooth, soft light environment. The exhibition area is dispersed with several small to medium size reading rooms, which allow for further reading or study of the pieces on exhibition. The generous use of benches allows for a relaxed contemplation of the pieces on show.

Offices

Only the boundaries of the 3rd floor are populated with spaces. The west side is defined by an open exhibition gallery, whilst the east is occupied by the directory, faculty and organizational staff of the museum. The offices have a striking view over the harbor of Helsinki. The offices are positioned in this area to achieve fast access to the exhibition areas, whilst still being accessible from the back of house. The pièce de résistance of the office area is the Chimney Room, exactly in the east west axis of the museum, which presents itself as a voluptuous space used for press conferences, interviews, sponsor hosting and as VIP room during opening events.