Location: Helsinki, Finland
Summer Solstice
Azi / Alt: 171.60° / 53.07°
Rise / Set: 02:54 / 21:50
Daylight: 18:56 Hrs
Winter Solstice
Azi / Alt: 175.88° / 6.45°
Rise / Set: 09:23 / 15:12
Daylight: 05:49 Hrs
There had been demand for a contemporary art museum in Helsinki since the 60s, and even
when eventually built in 1990, it was only a temporary setting. A design competition was launched in 1992 and Holl’s “Chiasma” (an anatomical intersection) won over 515 other proposals [10]. Kiasma is Finnish for chiasma, a term that describes “the crossing of two nerves or tendons or the intertwining of two chromatids, the thread-like strands of a chromosome” [11] the museum website explains. As the name suggests, it is a building of intersections (fig.1.1). From it’s location in the center of Helsinki (positioned between several significant sites, including the Finnish parliament building), it’s contribution to the Finnish National Gallery (contained along with Chiasma is the Ateneum Art Museum and the Sinebrychoff Art Museum.) which is responsible for the State Art Collection, this is it’s presiding philosophy.
Steven Holl’s philosophy of architecture is directly related to the world of phenomena, as Darya Yorgancioglu comments “a continuous interaction between architectural ideas and phenomenal world can be observed”[12]. This view accommodates a heavy predisposition to natural light, as the interaction between natural and manmade is encompassed. He was awarded the 2016 “Daylight Award in Architecture” which, that goes to architects who, as they state, “ have distinguished themselves by realizing architecture or creating urban environments that showcase a unique use of daylight, for the benefit of overall quality of life, its impact on human health, well-being and performance, and its value to society”[13]. The very first lines of the “Philosophy” section of his self-founded practises website, it notes it’s own ability to “shape space and light with great contextual sensitivity”, which displays an overt disposition to daylight.
As previously mentioned, the building is located in the centre of Helsinki
The form of the building involves a conventional, cuboid structure, running from south to north that is interrupted by a second structure, beginning narrow and gradually increasing in width, that cuts off the path of the first with a curving shape to become the façade, in a north westerly facing direction. These two structures are joined at the beginning by a mediating third structure. (fig.1.2)
The building is clearly concerned with allowing maximum daylight possible to be admitted to the building, with a huge amount of transparent surfaces. The double-curved glass wall is made from glass planks. “The greenish element has been removed from the building’s glass walls and gallery windows” according to Architectuul [1] to “ensure that the light entering is natural light”.
Skylighting is used in abundance, running along the bend of the curved structure are 5 large openings ascending in size, with accompanying shades to warden excessive light, being east facing they provide maximum light and heat gain. These, along with skylights on top of the intermediary structure, are placed at an angle, increasing light and solar gain. The effect of this is a high quality, high quantity illumination over a large area, giving a uniform light to the interior (fig.1.3).
Full curtain-wall window facade at the north end of the building provides a large volume of light to enter the building (fig.1.4.), which is crucial given the length of the building, and the drop-off in illuminance the further one gets into a room. Windows also adorn a large area of both the east and west facing walls (fig.1.4./1.5.). Many of these windows are composed of translucent glazing which diffuses the sunlight entering the interiors and is appropriate because the glazing area is quite big. When it is a large area, low-transmittance glazing creates a large, low-brightness source that will contribute a significant amount of light without glare.
This shows a utilization of skylighting where at all possible, with windows given large amount of surface area on multiple walls (encompassing different floors, with coverage at it’s highest floor) and placed adjacent to interior walls.
As an art museum, the function of the space is to display works of art and accommodate visitors viewing of these works. The building must then be concerned with how to illuminate the work of art, display it in a way that is clearly visible and display it so the impact of the work is maximised. With an ever-changing roster of works, the Holl opted for a minimalist design to accommodate the range of art, himself describing a “silent, yet dramatic backdrop” (fig.1.6.) and was clearly concerned more with how to effectively light the works, specifically with daylight.
Excessive contrast between window and wall is reduced by rounding the edges as seen below.
Interior spaces are large and unobstructed, allowing the light to travel further into the space. The walls are smooth and white, facilitating a diffused, abundant and even distribution or reflection of light. However, the ground is a dark, charcoal, absorbing light so-as-to balance out the light ratios, and not create glare with the massive volumes of light being admitted.
Along the ceilings and upper walls are horizontal light catching sections that deflect and diffuse light from skylights and clerestory windows down into museum spaces (the most effective direction of light) which allows natural light from a single roof opening to penetrate through and illuminate multiple levels (fig.1.7).
