Maybe its the extra darkness in the winter. The Guggenheim Helsinki Design Competition, which famously generated an astounding 1,715 submissions, came to a conclusion today as the Solomon R. Guggenheim Foundation announced the winner. Parisian firm Moreau Kusunoki Architectes and its “Art in the City” proposal was chosen from six international finalists. The design, which resembles a more austere, dark-but-not-quite-post-apocalyptic version of the Guggenheim Bilbao, “invites visitors to engage with museum artwork and programs across a gathering of linked pavilions and plazas organized around an interior street.” The Goth Bilbao in Helsinki is clad in charred local timber and glass. Nine volumes and a tower mimic waves and a lighthouse along the harbor, while a promenade meanders along the South Harbor’s waterfront and a pedestrian footbridge connects to the nearby park. “I extend the Guggenheim’s warmest congratulations to Moreau Kusunoki for having achieved the design goals of this competition with such elegance, sensitivity, and clarity,” said Richard Armstrong, Director of the Solomon R. Guggenheim Museum and Foundation. “I also want to express our admiration and gratitude to the other five finalists and to all of the architects who participated in this competition.” Jury chair Mark Wigley, professor and dean emeritus of the Graduate School of Architecture, Planning and Preservation at Columbia University, said at the announcement that “Moreau Kusunoki has titled its proposal ‘Art in the City,’ a name that sums up the qualities the jury admired in the design,” he continued, “The waterfront, park, and nearby urban area all have a dialogue with the loose cluster of pavilions, with people and activities flowing between them. The design is imbued with a sense of community and animation that matches the ambitions of the brief to honor both the people of Finland and the creation of a more responsive museum of the future."
Posts tagged with "Moreau Kusunoki Architectes":
Competition or PR stunt? That's up to you to decide, but there is no debate that the Guggenheim Helsinki Design Competition has provoked some interesting conversations around issues of the cultural institution in the globalized 21st century. On June 23, the Guggenheim will announce a winner, from the 1,715 official entries, all of which you can see here. However, the most interesting parts of the competition will probably be auxiliary to the building chosen on next Tuesday. In October 2014, the list was trimmed to a more manageable (and anonymous) six finalists. One of the spin-offs of the Helsinki competition is Next Helsinki, an alternative call-for-proposals that solicited new ideas about how the museum can bring its centrally located, waterfront site to life through the continuation of emergent urban trends. Rather than simply create another icon, Michael Sorkin explained on the website, organizers initiated the competition because of an “outrage at the march of the homogenizing multi-national brand culture emblematized by the imperial Guggenheim franchise—the cultural equivalent of Starbucks—was what launched us.” However, they also did it because they care about the city of Helsinki. “The feeling of love came from our mutual affection for Helsinki, from a sense that it is a singular place, unique in setting, form, and culture. Understanding the impetus to acquire a Guggenheim as a pursuit of the vaunted Bilbao effect, the idea that some gaudy global repository would put a tired place on the map, we wondered why a city so indelibly fixed in the urban firmament, so superb, would ant to surrender such a fabulous site to some starchitect supermarket,” Sorkin continued. For more on the Next Helsinki project, and to see the shortlisted projects, see their website.