After a career as a professional skateboarder, Helsinki-based Janne Saario has become one of few landscape architects in the world with a practice devoted completely to designing skate parks for young people. Saario’s designs—all of which are located in Europe—diverge from the typical brutalist stereotypes of concrete skate park masses, and rather, are site-specific and heavily influenced by their natural surroundings.
“Young people are our hope and future,” says Saario. “And by offering beautiful and meaningful surroundings to grow, like wonderful skate parks, we can make a positive change on their picture of the world and future behavior.”
The Solomon R. Guggenheim Foundation is abandoning plans for a museum in the Finnish capital after a proposal for funding was rejected by the Helsinki City Council, 53-32.
“We are disappointed that the Helsinki City Council has decided not to allocate funds for the proposed Guggenheim Helsinki museum, in effect bringing this project to a close,” Richard Armstrong, the director of the Solomon R. Guggenheim Foundation, told the Helsinki Times.
The project emphasises a consumerist and touristic view of art at the expense of the cultural and humane task of art. instead of strengthening local artistic traditions and practices, the project strengthens the already doubtful globalisation and commercialisation of art. The public funds could clearly be used in a more innovative and efficient manner to support Finnish artistic culture.
http://www.archdaily.com/800188/finnish-architect-juhani-pallasmaa-refuses-to-support-guggenheim-helsinki-projectAD Editorial Team
The future development of the Arabia Historic District in Helsinki has culminated in the second round of a two-stage competition.
Arabiazza(s) — one of the four proposals selected for the second stage — was developed by team leader Anssi Lassila and comprised of OOPEAA working in collaboration with Lunden Architecture and Gehl Architects acting as a consultant in urban public space. Through a sequential flow of spaces in the form of public squares, Arabiazza(s) fundamentally aims to encourage public interaction. The intent to engage a broad range of people — from students to tourists to workers — inspired the creation of multiple sheltered inner courtyards.
German collective Plastique Fantastique have created “superKOLMEMEN,” an inflatable structure encircling a historic sculpture in Three Smiths Square (Kolmen sepän aukio) in downtown Helsinki for Helsinki Design Week. Throughout the event, the installation was used as a space for lectures, performances and workshops, as well as a casual gathering place.
Metropolis Magazine has released their 2016 rankings of the world's most "livable" cities. Acknowledging that what makes a city "livable" can often be subjective, the team at Metropolis emphasizes that in creating the list they "focused on the concerns at Metropolis’ core—housing, transportation, sustainability, and culture." The result of this research was last year's top prize-winner Toronto dropping to the number 9 spot and Copenhagen, which last year took the number 4 spot, jumping to the top. Rounding out the top three are Berlin and Helsinki.
Following the tradition of the award, while the shortlist was selected by a panel of architects, the final winning project will be chosen by a non-architect. This year, former Prime Minister of Finland Paavo Lipponen will have the honor of picking the winner.
Find out more about the 4 projects after the break.
The very concept of an art gallery implies an inward focus. While the need to showcase the cultural treasures contained within is self-evident, the need to connect these sheltered exhibition spaces to the outside world is less so, and in some cases is overlooked entirely. Even monumental design that turns the museum itself into a sculptural element may fail to make a reference to its particular surroundings. This sense of 'placelessness' is what Steven Holl sought to avoid in his design for an art museum at the heart of Helsinki, Kiasma – a museum whose carefully choreographed outward views, formally irregular gallery spaces,, and indeed its very name speak to the ideal of connection.
Alvar Aalto was born in Alajärvi in central Finland and raised in Jyväskylä. Following the completion of his architectural studies at the Helsinki University of Technology he founded his own practice in 1923, based in Jyväskylä, and naming it Alvar Aalto, Architect and Monumental Artist. Although many of his early projects are characteristic examples of 'Nordic Classicism' the output of his practice would, following his marriage to fellow Architect Aino Marsio-Aalto (née Marsio), take on a Modernist aesthetic. From civic buildings to culture houses, university centers to churches, and one-off villas to student dormitories, the ten projects compiled here—spanning 1935 to 1978—celebrate the breadth of Aalto's œuvre.
In this article, which originally appeared in theCalvert Journal, Ksenia Litvinenko narrates the story of the K-2 Dacha – a governmental residence in St. Petersburg which sought to shrug off Russian Classicism and Soviet Modernism in favor of the principles of Finnish Modernism. Illustrated by photographs by Egor Rogalev and researched alongside Vladimir Frolov, this article examines a Modernist gem that you probably won't have heard of, or seen, before.
If you ever find yourself in St. Petersburg, take a taxi along the Pesochnaya embankment, far away from the polished attractions of the city centre. Sit back and watch the landscape changing on the other bank of the Malaya Nevka. Among the trees you will see the former dachas of Russian nobles, private residences of local officials and the buildings of the new elite, overlooking the river. This is the best and perhaps the only perspective from which to see the K-2 dacha.
Originally built as the headquarters for the Finnish Communist Party, the House of Culture (Kultuuritalo in Finnish) has since established itself as one of Helsinki’s most popular concert venues. Comprising a rectilinear copper office block, a curved brick auditorium, and a long canopy that binds them together, the House of Culture represents the pinnacle of Alvar Aalto’s work with red brick architecture in the 1950s.