Finnish Architecture 2010/2011

Finnish Architecture 2010/2011

Alvar Aalto AcademyFinnish Association of Architects SAFAMuseum of Finnish Architecture

FINNISH ARCHITECTURE 2010/2011Projects. Comments. Perspectives.

Organisers and publishersAlvar Aalto AcademyFinnish Association of Architects SAFAMuseum of Finnish Architecture

Project Team, Editorial BoardJuulia Kauste, chair, MFAPaula Huotelin, SAFAEsa Laaksonen, AAA

JuryJuhani Pallasmaa, chair (MFA)Jari Frondelius (SAFA)Carl-Viggo Hølmebakk (Norway, AAA)Helena Soimakallio, counselling advisor (Finnish Association of Civil Engineers)

ConceptYAttA

Exhibition designVesa Hinkola/YAttA

First presentationMuseum of Finnish Architecture, Helsinki 6 June – 30 September 2012

EditorMaija Kasvio

Book designSalla Bedard

TranslationSilja Kudel (translation and language consultation)Amy Spangler (Yanar, turkish to English)

©Alvar Aalto AcademyFinnish Association of Architects SAFAMuseum of Finnish ArchitectureWriters

PrintersKolofon Baltic OÜ, tallinn

ISBN 978-952-5195-39-2

Helsinki 2012

Cover picturesFront, from left to right: Ivan Baan, Pekka HelinPart Architects, Mikael Lindentuomas UusheimoBack, from left to right:Marko Huttunen, Rauno träskelin, tuomas Uusheimo Arno de la Chapelle, Jussi tiainen, B&M Jussi tiainen, Jussi tiainen, Jussi tiainenMika Huisman

CONTENTS

Paula Huotelin, Juulia Kauste, Esa LaaksonenFinnish Architecture 2010/2011. Projects. Comments. Perspectives 8

Luis Fernández-Galiano‘Global Vices, Finnish Virtues’ or ‘Learning from Finland’ 12

Netta BöökZero Hour before the High-Rise Invasion 14

Hüseyin YanarArchitecture: A Journey into the Heart 22

Juhani PallasmaaIs Finnish Architecture Losing its Direction? 28

Projects with assessments by Jari Frondelius, Carl-Viggo Hølmebakk and Juhani Pallasmaa

Flooranaukio Housing, Helsinki Heikkinen–Komonen Architects 32

Student Housing in Viikki, Helsinki Playa Architects 40

Villa Adlers, Kirkkonummi A-konsultit Architects Ltd 48

Villa Krona, Kimitoön Helin & Co Architects 56

Student Health-Care Centre Extension, Helsinki Sanaksenaho Architects 64

Meilahti Hospital Main Entrance and Traffic Arrangements, Helsinki Lahdelma & Mahlamäki Architects 72

Saunalahti Day-Care Centre, Espoo JKMM Architects 80

Modular Day-Care Centres, Helsinki Häkli Architects, Huttunen–Lipasti–Pakkanen Architects 88

Paja, Kymenlaakso University of Applied Sciences Extension, Kouvola Architects NRt Ltd 96

Helsinki Music Centre, Helsinki LPR Architects Ltd 104

Kilden, Kristiansand, Norway ALA Architects Ltd, SMS Arkitekter AS 112

Noah’ Ark, Helsinki Kari Järvinen and Merja Nieminen Architects SAFA 120

Athena, University of Helsinki Faculty of Behavioural Sciences, Helsinki Käpy and Simo Paavilainen Architects 128

Ranta-Tampella City District, Tampere B&M Architects Ltd 136

Kalasatama Temporary, Helsinki Part Architects 144

the Architects 153

Maija KasvioExhibition, Events, Literature, Prizes, Competitions 169

QR Codes 184

FINNISH ARCHITECTURE 2010/2011

Projects. Comments. Perspectives.

Preface

this is the fifth in a series of biennial reviews of Finnish archi-tecture organised by the Alvar Aalto Academy, the Finnish Asso-ciation of Architects and the Museum of Finnish Architecture.

this being our first review of a new decade, we wanted to try something different. the renewed biennial is a richer window on Finnish architecture than ever before. In addition to sharing the architects’ points of view, it also offers new perspectives from stakeholders such as clients, builders and users. the featured projects will be presented not only in the exhibition and cata-logue, but also on web and mobile platforms, offering the public multiple channels of access to detailed insights on the projects and architects, as well as new avenues to take part in dialogue. the current biennial is only the first step towards our envisaged new format; we will continue refining and elaborating the con-cept in future biennials.

this publication, too, foregrounds a greater variety of per-spectives than before. the four articles each contribute diverse viewpoints to ongoing discourse about Finnish architecture. the project presentations, including brief assessments by the jury, are supplemented by introductions to the architectural offices. Further details on the projects can be accessed via web-based QR codes.

Juhani Pallasmaa, the chairman of the jury, takes a look at the evolution of Finnish architecture within a broader historical continuum starting with the first Finland Builds Exhibition in 1953. He argues that Finnish architecture has shown a stead-fast commitment to the modernist tradition that is rare by inter-national standards, discernible for instance in how it embraces democratic social values as part of its fundamental ideology.

He is nevertheless critical of trends that have emerged over the past few decades and laments the decline of the cultural and social status of Finnish architecture. Citing Walt Whitman, he reminds us that just as there is good poetry only as long as there are good readers, there is only good architecture as long as there is creative ambition among clients and users. He also empha-sises that great architecture can arise only from a sensitivity to the local cultural and social landscape.

Pallasmaa points out that the jury’s selection process in-evitably reflects the particular values of its individual members. Every choice is ultimately a reflection of certain underlying be-liefs and agendas. the 15 projects selected out of 125 proposals by the current jury are rooted in their specific cultural and social reality, each in its own way aspiring to dignify the domain of everyday life.

the Spanish architect Luis Fernández-Galiano offers an outsider’s perspective on Finnish architecture. He applauds Fin-land not only as a shining model of social integration, but also for its exemplary architecture. He has often joked with Finnish ambassadors in Madrid that they not only represent their country, but are also ambassadors of architecture. Fernández-Galiano compares Finland with the booming emergent economies of the Middle East and Asia, concluding that Finnish architecture em-bodies a more tangible sense of social equity than the structural gimmickry and formal excitement enlisted by these emerging power elites. He describes Finnishness as a state of mind that is recognisable even when translated into French, as in the latest film by Aki Kaurismäki. Fernández-Galiano (perhaps inadvertent-ly) explains why 80 per cent of the Helsinki population ultimately

sided against the proposed Helsinki Guggenheim, a project that stirred up a violent storm of controversy in spring 2012.

Hüseyin Yanar’s article is a poetic, personalised account of key buildings in downtown Helsinki. He concludes by pondering the role of the new Music Centre in the townscape. Is architec-ture comparable to the world’s finest instruments – is the Music Centre like a violin that works its acoustic magic only when in the hands of a virtuoso?

Netta Böök opens up historical perspectives on a hot topic in Finland: the high-rise boom. She points out that vertical devel-opment is by no means new to Finland: it has been an enduring topic of controversy ever since the 1920s, when Helsinki’s first skyscrapers were proposed. With the arrival of the Great Depres-sion, however, only one of those early high-rises ever saw light of day, the 13-storey Hotel torni.

Producing this new, more comprehensive biennial review has required the input of a larger team of experts than ever before.

We are indebted to all the jury members, Professor Ju-hani Pallasmaa and architects Jari Frondelius and Carl-Viggo Hølmebakk, as well as the jury’s counselling adviser Helena Soimakallio. the concept of the review was designed by YAttA (Niko Kokonmäki, tuomo tammenpää, Lilli Palasto and Vesa Hinkola), and a key contribution was made by MFA personnel Maija Kasvio, editor of this publication and secretary to the jury, graphic designer Salla Bedard and specialist technical exhibition consultant Hannu Hellman. Juho Haavisto has been the review’s producer from the beginning of 2012, assisted by Ville Hakanen.

We also wish to express a special word of thanks to all the contributing architects for their generous input.

Paula Huotelin, Finnish Association of Architects Juulia Kauste, Museum of Finnish Architecture Esa Laaksonen, Alvar Aalto Academy

The world is out of joint, but Finland’s example can help to get it back on track. the two mu-tually reinforcing crises that have dislocated the ecology and the economy of the planet may find useful lessons in Finnish approaches: we can search for inspirational answers and potential cures to energy, climate and environ-mental woes and financial, political and insti-

tutional ills in a Nordic model that has delivered freedom and well-being while taking care of the urban and rural landscapes. However many detective novels insist on showing the cracks in the Scandinavian mirror, Finland remains a country where the combination of a fine educational system, gender equality, child welfare, environmental respect and low profile elites account for decent governance, negligible corruption and great quality of life, enhanced by a long tradition of design nurtured by necessity, as sophisticated in its man-made ingenuity as it is in the careful husbanding of nature.

Perceived from the south of the continent, the AAA rat-ing of Finland is not simply a financial estimate of its ability to repay its debt; it is rather a mark of the social success of a Lutheran-Nordic approach that combines economic dexterity and human development, where institutions stimulate both competitiveness and social cohesion, and where progress fuelled by knowledge is always aware of sustainability. Finn-ish architecture is of course only the tip of the iceberg: it is the best expression of a culture of design which manifests itself as much in the countryside as in cities and towns, where natural and artificial landscapes intertwine in an organic whole, where

‘GLOBAL VICES, FINNISH VIRTUES’ OR ‘LEARNING FROM FINLAND’

Luis Fernández-Galiano

the aesthetics of scarcity of a stone’s-throw-away rural past is the staple food of the architect, and where the concern for social well-being always takes precedence over structural gim-mickry or formal excitement.

But if you look around the world, this is exactly what one finds in the overheated economies of the Gulf, the booming cities of the Pacific or even in most of the emerging BRICS: structural gimmickry and formal excitement at the service of new power elites, eager to show off their wealth or their ambi-tion. We often hear that, if the 20th century was America’s, the 21st is going to be the century of Asia, and there is indeed a persistent displacement of the economic gravity center of the world from the Atlantic towards the East: the decline of the West and ‘the rise of the rest’ is a geopolitical feature of the present, yet ‘the rest’ are not proposing urban or architectural alternatives, but rather exacerbating or pushing to the limit the models of the West, so that the Dubai-Mumbai-Shanghai axis is in fact peddling the American city on steroids, a carica-ture of excess that brings precious little relief to our present predicament.

the same can be said of other contemporary metropolises like Sao Paulo, Mexico City or Moscow, which can be labeled as western or emerging, and that share many characteristics with oriental cities like Mumbai and Shanghai; but in the end all of them have a layered history which is entirely absent in Dubai. this blank-slate nature is indeed what makes the cit-ies of the Gulf fascinating; and it is also what has minted the ‘Dubai model’ as a reference for other emerging countries that are experiencing a swift process of urbanization. But the town

planning and the architecture of Dubai is exactly the reverse of the built environment shaped by countries and cities that follow the Nordic model, in the same way as the deeply frag-mented and unequal social collage of the Gulf emirates is the dark shadow of the tightly knit social fabrics of Scandinavia.

If today’s systemic crisis has dealt a heavy blow to the ambitions of Dubai – which was even forced to change the name of its most coveted landmark, the highest skyscraper in the world, from ‘Burj Dubai’, the tower of Dubai, to ‘Burj Khalifa’, the tower of Khalifa, named after the sheikh of the neighbor-ing emirate, Abu Dhabi, that rescued Dubai from financial col-lapse – in the same measure it has polished up the shine of the Nordic experience, where Finland has always occupied a posi-tion of privilege. Notwithstanding the schadenfreude sparked by the collapse of the Dubai model, the current architectural landscape of austerity, thriftiness and rigor demands renewed attention to Finnish virtues, which are a welcome contrast to the extravagant luxury and social fracture of the Gulf – men-tioned here only as an extreme expression of trends present everywhere, economic and spatial trends which have made our buildings less urbane and our societies more unequal.

In the end, the strength of Finland is to be found in its social cohesion, its strong geographical roots and its deeply ingrained culture. One can admire its design tradition just as one takes delight in the exquisite craftsmanship, laconic elegance and utter timelessness of the Shakers, but in the end the appeal of the Finnish approach rests rather on its double loyalty to its place and to its time, having both solid foundations in its land, people and culture, and a no less robust awareness of and at-tention to the deafening din of the world. Having an architect as a national hero – with the Finlandia Hall printed on the na-tional currency until the euro was adopted – and hosting one of the world’s first museums of architecture – now happily

rehashed – Finland finds in architecture the foremost expres-sion of its rich design culture, local and global at the same time, to such an extent that I used to joke to Finnish ambas-sadors in Madrid that they not only represent their country, but are also ambassadors of architecture.

Although many associate Finland with the humanist and organicist legacy of Aalto, and with the phenomenological tradition that feeds on Heidegger through the interpretation of the Norwegian architect and theorist Christian Norberg-Schulz – extended today in the writings of the architect and critic Juhani Pallasmaa – the wide register of its designers goes beyond the predictable genius loci, and shows the extent to which they are attentive to the Zeitgeist, reconciling place and time in works both rooted and contemporary. But being aware of the spirit of the times has not seduced Finnish architects into adopting the latest empty fashion or formal extravagance, and this reluctance to conform explains the sound resilience and urgent pertinence of their work in our time of crisis, and also the difficult absorption in the country of international iconic architecture, as the experience of Kiasma eloquently illustrates.

true Finns and the true Finnish environment are not to be found in the depths of the land, but wherever the Finnish social model of integration flourishes, because in the end the excel-lence of its architecture and design springs from the source of its social virtues. to many of us, there is no truer Finn than Aki Kaurismäki, and it is very moving to listen to the characters of his latest movie speaking French, but otherwise sounding as Finnish as can be. Perhaps Finland is not a nation but a state of mind, and we would all rush to its embassies if they were to freely issue passports to this nation of the heart. In these times of distress we can learn from Finland, even if the country hap-pens to be provisionally located in Le Havre.

Still photo from Aki Kaurismäki’s film Le Havre. Left Marcel Marx (André Wilms), right Monet (Jean-Pierre Darroussin).

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The Manhattan skyline outside my window sparkles enticingly this December evening. the gracefully tapering steel peak of the Chrysler Building is wreathed in an aura of radiant, en-ergising light. I sit at my desk and surf for news from Finland.

My homeland is gripped by high-rise fever. Multi-storey tower blocks are invading the

nation, south by north. Ambitious projects are taking shape not only in the Finnish capital, but also in tampere (population 215,144), Oulu (143,734) and even Rovaniemi (60,592). the east Finnish lake towns of Lappeenranta (72,183) and Savon-linna (27,635) are busily planning multi-storey spa hotels. Even Savitaipale, a rural community of only 4,200, entertained a fleeting whim to build its very own ‘skyscraper’.

the fever is highest in Finland’s capital and largest city, Helsinki, with its population of nearly 600,000. According to a report published in December 2011 by the City Planning Department,1 developers propose to build as many as 50 new high-rises in Helsinki, some as gigantic as 120–140 metres. the illustrations reveal that within a few years we will be seeing a miniature replica of Manhattan’s Financial District rising in the new inner-city precinct of Kalasatama (the Fish Harbour), and the downtown area of töölönlahti Bay will soon become a distant copy of Central Park, framed against a backdrop of sky-scrapers sporadically dotting the skyline here and there.

But Helsinki is wary to avoid the fate of its southern neigh-bour, tallinn, where, during the post-socialist construction boom, the once-unique silhouette of the mediaeval Old town

has been sadly disfigured by randomly scattered skyscrapers. to avert the same mistake, the City Planning Department has formulated a list of zoning regulations for high-rise development in Helsinki, one being that no construction is to deface the wa-terfront skyline, which was designated a National Landscape by the Ministry of the Environment in 1994. the entire town centre also enjoys official protection as a low-rise zone.

IT IS IMPOSSIBLE to imagine Manhattan without its sky-scrapers. they were born and came of age in New York and Chicago. At the end of the 19th century, vertical development offered the ideal solution for rapidly growing boomtowns strug-gling with a shortage of good commercial space. Early high-rises were creatively ambitious; owners understood that a skyscraper was an advertisement offering unprecedented exposure and visibility, and hence their design was entrusted to the foremost architects of the day.

High-rises are by no means new to Finland either. In our cities you will find – readers will kindly withhold their mirth – as many as two dozen buildings over 16 storeys high. As early as the boom years of the 1920s, Helsinki harboured hopes of build-ing a legion of ‘skyscrapers’, yet only one of them ever material-ised: the elegantly tiered 13-storey Art Deco-inspired Hotel torni (Jung & Jung). At a dizzying 42 metres, it is our Empire State Building. It, too, suffered from unfortunate timing: completed at the height of the Depression in 1931, it soon ran into financial difficulties.

Finland had to wait another fifty years for its next ‘skyscraper’. In the 1970s the Neste (now Fortum) oil corporation, a govern

ZERO HOUR BEFORE THE HIGH-RISE INVASION

Netta Böök

FLOORANAUKIO HOUSING, HELSINKIHeikkinen–Komonen Architects

to say that potsherds from a Moomin plate are this project’s main idea would be an overstatement, but not entirely remote from the truth. the apartment building is located on the site of the old Arabia factory and the characteristic potsherd ornamen-tation of the new facades tells an important story in a direct, non-academic way. the building is also a compelling example of a city block with different architectural approaches to the outside and the inside: the rational, but well-proportioned brick facades facing the street carry on a conversation with the neighbourhood, while the light, undulating ‘interior’ of the block gives the inner courtyard a playful character. this apart-ment building – obviously subject to the usual requirements for efficiency and economy – offers great surplus value that the inhabitants can enjoy every day.

Having visited the nearly completed building on a cold winter’s day, we look forward to seeing how the large outdoor area devel-ops. We noted that there is a way to go before the garden court-room acquires the light mood which is sensitively reproduced in the architect’s illustration. But we believe it will come.

Jury (CVH)

Flooranaukio HousingAs Oy Helsingin Flooranaukio ja Kumpulan Kiinteistöt Oy Lontoonkuja

Flooranaukio 1; Brysselinkatu 6 and Lontoonkatu 5, Helsinki

Completed 201113,530 m2 gross; 45,275 m3

Heikkinen–Komonen ArchitectsArkkitehtuuritoimisto Heikkinen–Komonen Oywww.heikkinen-komonen.fiAuthors: Mikko Heikkinen, Markku KomonenOther architectural designers: Kaj van der Puij (project architect)

Landscape design: Maisema-arkkitehdit Byman & Ruokonen Oy

Client: Helsinki Housing Production Department (Att), Kumpulan Kiinteistöt OyUser: Kumpulan Kiinteistöt Oy General contractor: Lujatalo Oy

Structural design: Finnmap Consulting OyHPAC design: Insinööritoimisto Livair OyElectrical design: Sähköinsinööritoimisto Niemistö OyAcoustic design: Helimaki Acoustics

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VILLA ADLERS, KIRKKONUMMIA-konsultit Architects Ltd

Often when we consider architectural work, we do so on the basis of photographs. We try to get familiar with the work and to understand the spaces and the ideas. In different ways the illustrations try to convey the main concept of the architecture. Usually the images are unpeopled and it is up to the viewer to construct the life and activities for which the architecture is cre-ated. the use of human models often seems unnatural and you feel that it provides information that is not really relevant.

Looking at the photos of Villa Adlers, one feels that the residents are very close - in another room or just outside the focal angle of the camera. In this way the pictures appear both as snapshots and near true documentations of the house and the life that goes on there. Interpretation or explanation seems unnecessary. One could say this is about the photographic work. One can also say it is all about the house itself.

Architecturally this work possesses an unusually strong and re-laxed confidence. the inner garden and the continuous skylight lantern admit daylight into the interiors, whilst also shielding them from the environment. the almost conventional cross-sectional geometrical forms – together with the subdivided plan – show a controlled complexity which endows the house with surprising and beautiful room sequences.

Jury (CVH)

Villa AdlersKirkkonummi

Completed 2011230 m2; 720 m3

A-konsultit Architects LtdArkkitehtitoimisto A-konsultit Oywww.a-konsultit.fiAuthor: Eric Adlercreutz

Garden plantations: Hemgård Landscape Design/ Gretel Hemgård

Client and user: Gunnel and Eric AdlercreutzGeneral contractor: KW-tek Oy

Structural design: Suunnittelu GL OyHPAC design: trilogon OyElectrical design: Sähkö Ohmi OyHPAC design: Insinööritoimisto Livair OyElectrical design: Sähköinsinööritoimisto Niemistö OyAcoustic design: Helimaki Acoustics

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STUDENT HEALTH CARE CENTRE ExTENSION, HELSINKISanaksenaho Architects

What is easy?

With its monotonous main facade, sober proportioning and sophisticated detailing, this edifice manifests itself with con-vincing force. Characteristics that in other buildings would have made us suspicious, or even seemed inhuman, in this case have a surprisingly comforting quality. Can it be that simple? And of course this is not something that can easily be transferred to other building tasks or sites. Underlying this architectural assignment is not only a masterstroke in organisation and effi-ciency, but a unique ability to make visible the essential aspects of the building. In this way, even a fairly pragmatic programme stands as a wonderfully precise architectural statement – for the benefit of both the users and the entire neighbourhood.

Jury (CVH)

Student Health Care Centre ExtensionYtHS, ylioppilaiden terveystalon laajennus

töölönkatu 37, Helsinki

Competition 2007Completed 20103,325 m2 gross; 3,700 m2 net; 17,115 m3

Sanaksenaho ArchitectsSanaksenaho Arkkitehdit Oywww.kolumbus.fi/sanaksenahoAuthors: Matti and Pirjo SanaksenahoOther architectural designers: Jaana Hellinen (project architect), Jari Mänttäri, Aleksi Räihä, tommi terästö

Client and user: Finnish Student Health ServiceGeneral contractor: Hartela Oy

Structural design: Optiplan OyHPAC design: Hepacon OyElectrical design: Consulting Engineers Veikko Vahvaselkä LtdAcoustic design: Arkkitehtitoimisto Alpo Halme OyFire safety design: Markku Kauriala LtdSprinkler design: Mikko SairanenGlass structure design: Jalora Planarian Oy

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PAJA, KYMENLAAKSO UNIVERSITY OF APPLIED SCIENCES ExTENSION, KOUVOLAArchitects NRT Ltd

the workshop building (consisting of workshops, exhibitions and a café) forms the centrepiece of an historic cluster of early twentieth century red-brick buildings.

the decision to place most of the new structure on a lower level maintains the focus on the old buildings, enabling the use of an entirely different vocabulary of forms, materials and colours. the functional organisation is very rational and well-planned, as is the placement of the café as a free-standing structure and focal point on the terrace. As the workshop building marks the transition between two levels instead of appearing as a separate structure, the elongated facade is well motivated.

the extremely reductive formal language, materiality and detail-ing deviates from current Finnish modernism, being reminiscent of certain recent Japanese projects. However, the reductivism seems motivated as it strikes up an arresting dialogue with the existing setting.

Jury (JP)

Paja, Kymenlaakso University of Applied Sciences ExtensionKymenlaakson ammattikorkeakoulun lisärakennus

Kuuselankatu 1, Kouvola

Invited competition 2006 Completed 20104,045 m2 gross; 3,845 m2 net; 25,340 m3

Architects NRt LtdArkkitehdit NRt Oywww.n-r-t.fiAuthor: teemu tuomiOther architectural designers: tommi Suvanto (project archi-tect), Simo Nuojua, Kristiina Suoniemi, Matti Nurmela, Kari Raimoranta, Vesa Oiva (competition phase), Jussi Kalliopuska (competition phase), tuula Olli, Juuso Hatakka, Jussi SaarinenInterior design: Architects NRt Ltd

Client and user: Kymenlaakso University of Applied SciencesGeneral contractor: NCC Construction LtdClient’s consultant: ISS Proko Ltd

Structural design: Finnmap Consulting OyHPAC and acoustic design: Oy Insinööri StudioElectrical design: Insinööritoimisto tauno Nissinen OyGeotechnical design: Geopalvelu Oy

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KILDEN, KRISTIANSAND, NORwAYALA Architects Ltd, in collaboration SMS Arkitekter AS

the harbour area of Kristiansand has been endowed with a powerful, iconic landmark: a black box standing on the water-front, radiating an air of supreme self-assurance. the undulating wooden entrance facade is imbued with drama and tension. An enticing promise of something spectacular, it makes us itch to enter.

this kind of architecture undoubtedly makes a pertinent setting for grand spectacle, but can it whisper? Kilden is the shared home of numerous local art institutions, but does it also insti-tutionalise art? No fear of that, for the variety of spaces affords the possibility of easy adaptation for experimental small-scale performances. the more neutral space of the halls gives the per-formances the freedom to be anything. the skilful detailing and the rationally functional floor plan are very convincing in design.

Kilden is a building with symbolic significance not only for this Norwegian city, but also for contemporary Finnish architecture.

Jury (JF)

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KildenKilden teater- og Konserthus for Sørlandet IKS

Sjølystveien 2, Kristiansand, Norway

Competition 2005Completed 201124,600 m2; 128,000 m3

ALA Architects Ltd, in collaboration SMS Arkitekter ASArkkitehtitoimisto ALA Oywww.ala.fiAuthors: Juho Grönholm, Antti Nousjoki, Janne teräsvirta, Samuli Woolston; in collaboration Erik Sandsmark/SMS Arkitekter ASOther architectural designers: ALA Architects/Niklas Mahlberg, Pekka Sivula, Sami Mikon-heimo, Auvo Lindroos, Aleksi Niemeläinen, Harri Ahokas, Pauliina Rossi, Pauliina Skyttä, Erling Sommerfeldt, tomi Henttinen, Anniina Koskela; in collaboration SMS Arkitekter AS/Wenche Waage, thor Helle, Jan t. B. Grøn-ningsæter; Spiss arkitektur og plan AS/ Annette Upsahl, Basisarkitekter AS/Johan Koren Hauge

Interior design: ALA/Jani Koivula, SMS/Eirin ZachariassenLandscape design: Rambøll/Hanne Alnæs, Grønnstrekktheatre technology consultant in competition phase: Birger GrönholmLighting concept: Julle Oksanen Lighting Design OyModels: Stoltmallit/Klaus Stolt

Client: teater- og Konserthus for Sørlandet IKSProject management consultant: PtL, KristiansandUser: Agder teater, Opera Sør, Kristiansand Symfoniorkester

Structural design: Multiconsult AS, Oslo, KristiansandAcoustic design: Concert hall: ARUP Acoustics, Winchester; other spaces: BS akustikk, Oslotheatre technology design: theatre Projects Consultants, LondonHPAC design: Sweco Grøner, OsloElectrical design: COWI, Oslo, KristiansandElectroacoustics: BS Akustikk

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TIIN

SÖRNÄISTENNIEMI

VÄLI

AIKA

INEN

PUI

STO

,

2011

-201

5

SOMPASAARI

NIHTI

TAID

EAIT

A 19

MM

VAN

ERIA

, KO

RKEU

S 2,

7 M

,

PITU

US N

. 137

M

KAHVILA

KONTTIAUKIO, KONTIT 7 KPL,TAPAHTUMA-AUKIO

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LUONNOS KALASATAMAN RANTAREITIN VARTEEN SIJOITTUVISTA TOIMINNOISTA

1:4000 SUUNNITTELUTOIMISTO PART / JOHANNA HYRKÄS 11.5.2011

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