Gh — 5059206475 narrative bookletsanitised by SRGF

47 Rooms

GH — 5059206475

47 Rooms

Introduction

HELSINKI IS A CITY OF INTERIORS. Due to its extreme climatic conditions, Helsinki’s civic society blossoms indoors. The Market Hall & the Observatory, museums & karaoke’s bars, cabarets & art galleries, hotel lobbies & beauty salons, restaurants & theatres, churches & saunas, Universities & cinemas, all form a robust network of spaces that host & nurture public life; interior public life. The street, a Mediterranean ideal of public space, works only during a few weeks each year & is often described as the living—room of the city. The rest of the time Helsinki is a city of rooms that empower their political users. Our proposal for the Guggenheim Helsinki, 47 Rooms, extends this network using the architectural technologies that construct Helsinki’s interior citizenry: i.e. walls, doors, windows, & the machinery that defines atmospheric conditions. 01

47 Rooms

Chapter — I

Interior Citizenry

Public Helsinki

Chapter — I Interior Citizenry Public Helsinki

47 Rooms links its interiors to Helsinki’s extended network of indoor public spaces. There are multiple connection points. The Museum’s front door opens to a new public square that extends south of the Old Market Hall Plaza in the intersection of Eteläranta & Laivasillankatu. The new square connects to the bike line & is few meters away from the Eteläranta tram stop & the rationalist lobby of the Palace Hotel. A second entrance opens to the pedestrian promenade along Laivasillankatu, which leads to modernist interiors the Olympia Terminal, but also connects to the historic hilltop Tähtitorninvuoren park & the neoclassical rooms of its observatory, & from there to the exhibition galleries of Design Museum & the Museum of Finnish Architecture. More important, 47 Rooms reserves 30% of its unassigned areas (1.500m2) to open a series of micro galleries through the city: we call them Guggenheim Pop—Ups. Located in available spaces through Helsinki, the Guggenheim Pop—Ups not only intensify the symbiosis between museum & city; they are the forums that host the discussions surrounding the Guggenheim Helsinki’s controversy; i.e. they invite the citizenry into the actual museum & demonstrate its value before it is even built.

Saunas Kulttuurisauna

Shops Alvar Aalto’s Academic Bookshop

Museums Ateneum´s lobby

Renovated Warehouses VR makasiinit (Pop—Up)

Rooms Guggenheim Helsinki

Event Spaces Veturitallit (Pop—Up)

Island Indoor Facilities Uunisaari (Pop—Up)

Interior Master Plan Underground Master Plan

Underground Streets Kaisaniemi tunnel

Rooms Guggenheim Helsinki

Cafes Café Ekberg

Indoor Swimming Halls Yrjönkatu

Exhibition Centers Wanha Satama

Indoor Markets The Old Market

Train Stations Rautatieasema (Pop—Up)

Citizen Appropriation Spaces Teurastamo (Pop—Up)

Indoor Beach Biitsi.fi Areena

Renovated Warehouses Kruununmakasiini (Pop—Up)

Shopping Malls Stockmann

Cultural Factory Korjaamo (Pop—Up)

Indoor Urban Gardening Turntable/ Kääntöpöytä

Art Galleries Huuto Jätkäsaaren (Pop—Up)

Underground Skatepark Kontula Skate park

Renovated Warehouses Katajanokan Tulli-ja Pakkahuoneen (Pop—Up)

Cultural Centers Kaapelitehdas (Pop—Up)

Moving Interiors Tram/ Raitiovaunu

Underground Swimming Pool Itäkeskus Swimming Hall

Underground Playground Leikkiluola Indoor Playground

Floating Interiors Ferries

Cultural Centers Suvilahti (Pop—Up)

Heated Street Floors Pohjoisesplanadi

Outdoor Heated Market tents Market Square

Outdoor Barbecue Fire Cafe Regatta

Outdoor Heated Terraces MBar

Outdoor Room Guggenheim Helsinki

Indoor Rock Climbing Kiipeilyareena

47 Rooms

Chapter — I

Interior Citizenry

Domestic Harbur

Guggenheim Pop—Ups 47 Rooms reserves 30% of its unassigned areas (1.500m2) to open a series of micro galleries through the city: we call them Guggenheim Pop-Ups. Located in available spaces throughout Helsinki, the Guggenheim Pop-Ups not only intensify the symbiosis between museum & city; they are the forums that host the discussions surrounding the Guggenheim Helsinki’s controversy; i.e. they invite the citizenry into the actual museum & demonstrate its value before it is even built.

Pop—Up

Pop—Up Pop—Up

Pop—Up

Construction Process

Phase I Relocation & Dismantling of the old terminal (1), storage & treatment of the laminated timber structure (2) opening of the Construction Process Interpretation Centre (3) & temporary truck access to the Olympia Terminal cargo area (4). Phase II Reconstruction of the warehouse (5), construction of the bridge-like structure (6) & relocation of the temporary truck access to the Olympia Terminal cargo area (7). Phase III Elevated pedestrian connection from the Olympia to the new Makasiini Terminal (8), space over the new Makasiini Terminal is reserved for future developments (9), Construction of the central band of the museum (10), & relocation of the temporary truck access to the Olympia Terminal cargo area (11).

SUVILAHTI Sörnäisten rantatie 22 KAAPELITEHDAS Tallberginkatu 1

HUUTO JÄTKÄSAAREN Tyynenmerenkatu 6

Construction Process Besides reducing the project’s carbon footprint, reusing the existing structures allows for easy relocation of the Makasiini terminal in the section of the existing building outside of the competition site, keeping the Tallinn Ferries functional during construction & providing a feasible site for future developments. The terminal’s shed will also house an Interpretation Centre to make the construction process, that uses BIM technology, more transparent to the citizens of Helsinki. The building’s infrastructural scale facilitates the use of industrialized construction solutions which reduce cost between 10-12%, & construction schedules between 32-35%, while ensuring that the vehicular traffic to the Olympia Terminal will be neither disturbed during its construction nor once it opens.

Galleria Huuto is an independent artist collective located in Helsinki, Finland. Currently Huuto maintains two galleries, both located at the center of Helsinki. However, Galleria Huuto is not restricted merely within these premises as it also operates at other locations in the form of various events, projects & visits. Annually Huuto organizes as many as 50 contemporary art exhibitions.

KATAJANOKAN TULLI Ja Pakkahuoneen Katajanokanlaituri 5 Old customs Warehouse was designed by architect Gustaf Nyström & built in 1901. It has one of the most impressive interior in Helsinki. Exhibitions & events are organised including Helsinki Design Week.

The Cable Factory is the largest cultural centre in Finland. It houses 3 museums, 12 galleries, dance theatres, art schools & a host of artists, bands & companies. Unique spaces are also available for rent on a short-term basis to stage concerts, exhibitions, festivals & fairs. Around 900 people work at Kaapeli on a daily basis, & each year over 200,000 people attend special events. The Cable Factory is located by the sea, yet almost in the centre of the city.

The historically unique area— combined with a sophisticated group of tenants— is creating an internationally significant cultural centre. The original buildings were designed over a century ago by Selim A. Lindqvist, who was inspired in part by the Art Nouveau architecture in Vienna. Suvilahti comprises nine buildings, two large gasometers & 2.5 hectares of open-air yard space. The cultural centre will be formed gradually as the buildings are renovated & tenants move in. Also in the area: Open graffiti wall & D.I.Y skatepark.

VR MAKASIINIT Mannerheimintie 13 The VR warehouses were a group of redbrick railway warehouses in the centre of Helsinki, used by the Finnish State Railways from their construction in 1899 until the 1980s. The warehouses were badly damaged in a fire on 5 May 2006 & were subsequently demolished in part. A small section at the end of the southern warehouse is temporarily preserved & used for some events.

TEURASTAMO Työpajankatu 2 The area was constructed in 1933 when it housed the City of Helsinki’s abattoir. Used for wholesale in the recent years, the historical compound is now being taken over by citizens, phase by phase. The historical spaces are under gradual renovation & preparing for the next chapter. Spontaneous urban culture will be nesting among wholesale bustle for some more years to come.

VETURITALLIT Tallikatu 34 Pasila’s Old Roundhouse was built in 1899. It is used for many kinds of special events including dinners & cocktail parties. The whole area is 680m2 with 7,5m ceiling height.

KRUUNUNMAKASIINI Hämeentie 39 An old warehouse with 2000 m2 built in 1892. It is vacant since 2006 & used for temporary exhibitions. Massive brick exterior wall with wooden load bearing structure.

UUNISAARI

KORJAAMO Töölonkatu 51 a-b

Uunisaari Island is located close to the city centre, offering a tranquil & relaxing seaside atmosphere. Close to the harbour, the island can be reached in summer in a short 3-minute boat ride from the Kaivopuisto Park, & by bridge in winter time. The Uunisaari restaurant offers a setting for special occasions, such as corporate events, weddings, celebrations, meetings & conferences. There are also sauna facilities, a supervised swimming beach & a hot water Jacuzzi where you are able to relax & enjoy the beautiful scenery of the Helsinki coastline.

Korjaamo Culture Factory is one of the largest arts centres in the Nordic countries, which produces arts events across various fields including music, theatre, fine arts & talks. Newness, open-mindedness & interaction with audiences are top values in Korjaamo’s programme. It has its own gallery, Korjaamo Galleria, which produces approximately 20 exhibitions a year. During summer, Korjaamo hosts Helsinki Theatre Festival, & its garden is packed with free programme including openair theatre, gigs, DJ’s. Korjaamo has a bar & a café that is open every day.

47 Rooms

Chapter — I

Interior Citizenry

Infrastructure

Chapter — I Interior Citizenry Infraestructure

Cultural Production

Cultural Production The North façade is a piece of cultural infrastructure. Combined with the square, it functions as machine to display large scale works, whether coming from visual arts, architecture or design. The façade does not work as a backdrop but rather as a theatre fly tower. Its blank industrial frontage hides technologies required to physically manipulate the mise en scène. Weather permitting, two 20m square rooftop modules move out & hover over the square, the main wall of the entry room folds up to open the lobby to the street. The pavement, equipped with the same museum technologies as the rest of the galleries, is ready to host open-air exhibitions, performances, screenings, & events. It redefines public space with museum-quality infrastructure.

Porto Franco The South façade takes advantage of its paradoxical nature. It fluctuates between two seemingly incompatible realities; it is both the first impression of the Guggenheim Helsinki for the visitors coming from Stockholm through the Olympia Terminal, & a background to an international open-air cargo parking lot. Its content, therefore, responds to the vehicles that obfuscate it, as much as to the pedestrian traffic Laivasillankatu. It borrows a variety of signs to both announce the museum contents & display actual content.

Porto Franco

47 Rooms

Chapter — I

Interior Citizenry

Constructed Nature

Chapter — I Interior Citizenry Constructed Nature

Double Exposure

Double Exposure The East façade of the building appropriates the elevated pedestrian walkway as scopic technology, a mechanism of vision. As a lookout for the visitors, it offers unique views of Eteläsatama. As an exhibition wall—extended upwards to make it visible—it encloses the largest exhibition space, a room the size of the bay, to be seen from the other side of the South Port. The extreme dimensions of the walkway, 120 m long & 4 m wide, & its radical exposure to the city made it a perfect site for site-specific interventions. The expanded glass façade,120m long & 15m high, as much mirrors the city as it puts the museum on display.

Picturesque Bucolism The West façade of the building completes the Tähtitorninvuoren Park. It is designed as a stage for the amphitheatre-like geometry of the park already identified in Knut Forsberg original design from1868. Thus, the façade, that provides an urban elevation to Laivasillankatu, also includes a public square that doubles as a second entrance to the museum, sculpture garden & stage for the park.

Picturesque Bucolism

Chapter — I

Interior Citizenry

Chapter — I

01. 02. 03. 04.

Sun-shade grille Double glazing glass sky light Interior movable louver Multiwall polycarbonate with nanogel infill t=70mm 05. Thermal Cushion ventilation vents 06. Tridimensional Polonceau truss system 07. Maintenance platform 08 Esparto threads for acoustic absorption 09. Auto-tuning daylight LED lighting system 10. Movable rooftop tread 11. Three layer ETFE cushion with adjustable solar protection w=6.6m l=20m 12. Track lighting system 13. Secondary Track lighting system h=7m 14. Overhead folding door w=16m h=6.5m 15. Glass revolving door r=3.2 16. Aluminium honeycomb panel t=2+20+1mm 17. Insulation t=140mm 18. Insulation t=400mm 19. Lightweight CLT panel t=400mm w=1.2m h=8m

Interior Citizenry

Mechanisms for the Production of Culture

Urban Artifact

20. 21. 22. 23. 24. 25. 26. 27. 28. 29, 30. 31. 32. 33. 34. 35. 36. 37. 38. 39.

Lightweight CLT panel t=400mm w=1.2m h=12m CLT slab panel t=250mm w=1.2m h=10m Raised floor Double glazing glass Pre-existing walkaway Double glazing glass screen Mullion Overhead rolling door w=6.6m h=4.5m Makasinii terminal existing laminated wood structure Low pressure HVAC vents Acoustic insulation board Galvanized grating Water collector Polished concrete screed t=150mm Insulation 90mm (floor heating) Structural concrete t=250mm HVAC Duct Pedestrian pavement Vehicular pavement Pilings foundation

1/75 cross-section of the East façade

1/75 cross-section of the South façade

1/75 cross-section of the North façade

The Form is the Action

1/75 cross-section of the West façade

47 Rooms

As Found Decorated Shed

Industrial Vernacular

47 Rooms

Chapter — II

Well—Tempered Identity

Institutional Weather

Chapter — II Well—Tempered Identity Institutional Weather

Historically, Guggenheim museums—with the exception of the Peggy Guggenheim Collection palazzo in Venice—have leant on strong iconic features to define their identity. New York’s vertical urbanity, Bilbao’s post-industrial landscape & Abu Dhabi’s eclectic skyline required it. Strong formal features were the strategy to both fit in, & differentiate from the museum. Helsinki is an opportunity to continue this tradition of radical contextualism while shifting away from objecthood in favour of atmospheric conditions.

New York

47 Rooms proposes a strategic shift, already successfully tested in the BMW Guggenheim Lab: to embrace the urban conditions of Helsinki by focusing on its interior climates rather than its external morphology. The goal is to create different kind of Guggenheim identity, one defined by its internal weather.

Helsinki

47 Rooms

Chapter — II

Well—Tempered Identity

Rooms & Doors

Chapter — II Well—Tempered Identity Rooms & Doors

Rooms

Doors

A thermal onion presupposes a system of stable spatial conditions that keep the climate independent & constant. 47 Rooms contains nine rooms of 20x20m, twenty-seven of 6.5x6.5m six of 10x10m, two of 120x4m & one of 32x120m that do so. The public square north of the site is room 46, Eteläsatama no. 47. The 32x120m room hosts the exhibition spaces that can be combined or divided as needed. The rest offer an alternative notion of flexibility based on a rigid set of spatial conditions rather than temporal partitions. Over time, the rooms’ dimensions won’t change, though the way they are used will, opening to new functions not prescribed in the design.

The thermal onion also presupposes a system of opening & closing that both isolates the rooms & makes them penetrable. They seem to be pure & simple openings, but operate like a system of levies & floodgates that control the transfer of humidity & temperature. 47 Rooms’s 89 doors, appropriated from industrial architecture specialized in atmospheric control & high levels of circulation (refrigerated logistic canters, wholesale food markets, industrial laboratories, chemical production, etc) keep the different climates in place.

Chapter — III Politics of the Sauna

35 36 14. Overhead folding door w=16m h=6.5m 15. Glass revolving door r=3.2

B — The museum walls are built using a 8x2.5m panel sandwich of Cross-laminated-Timber (CLT) & insulation which grants 0.10-0.20 U-values.

31. 32. 33. 34. 35. 36. 37. 38. 39.

Galvanized grating Water collector Polished concrete screed t=150mm Insulation 90mm (floor heating) Structural concrete t=250mm HVAC Duct Pedestrian pavement Vehicular pavement Pilings foundation

C — The concrete slabs incorporate floor heating/cooling systems connected to the district heating system.

Politics of the Sauna

12. 13.

05. 06. 07. 08. 09. 10. 11.

Sun-shade grille Double glazing glass sky light Interior movable louver Multiwall polycarbonate with nanogel infill t=70mm Thermal Cushion ventilation vents Tridimensional Polonceau truss system Maintenance platform Esparto threads for acoustic absorption Auto-tuning daylight LED lighting system Movable rooftop tread Three layer ETFE cushion with adjustable solar protection w=6.6m l=20m Track lighting system Secondary Track lighting system h=7m

Aluminium honeycomb panel t=2+20+1mm Insulation t=140mm Insulation t=400mm Lightweight CLT panel t=400mm w=1.2m h=8m Lightweight CLT panel t=400mm w=1.2m h=12m CLT slab panel t=250mm w=1.2m h=10m Raised floor Double glazing glass Pre-existing walkaway Double glazing glass screen Mullion Overhead rolling door w=6.6m h=4.5m Makasinii terminal existing laminated wood structure 29, Low pressure HVAC vents 30. Acoustic insolation board

16. 17. 18. 19. 20. 21. 22. 23. 24. 25. 26. 27. 28.

Chapter — III

01. 02. 03. 04.

A — The Roof is a combination of two air pillows. The lower one is triple layer EFTE cushion. The second, topped by a multiwall polycarbonate with nanogel infill encloses the roof structure, controls the level of natural light & allows for multiple climatic configurations.

Technical Sandwich 20x20

47 Rooms Technical Sandwich 20x20

Chapter — III

Technical Sandwich 32x120

Politics of the Sauna

37 38 14. 15. 16. 17.

Overhead folding door w=16m h=6.5m Glass revolving door r=3.2 Aluminium honeycomb panel t=2+20+1mm Insulation t=140mm

B — The museum walls are built using a 8x2.5m panel sandwich of Cross-laminated-Timber (CLT) & insulation which grants 0.10-0.20 U-values.

12. 13.

31. 32. 33. 34. 35. 36. 37. 38. 39.

Galvanized grating Water collector Polished concrete screed t=150mm Insulation 90mm (floor heating) Structural concrete t=250mm HVAC Duct Pedestrian pavement Vehicular pavement Pilings foundation

C — The concrete slabs incorporate floor heating/cooling systems connected to the district heating system.

Insulation t=400mm Lightweight CLT panel t=400mm w=1.2m h=8m Lightweight CLT panel t=400mm w=1.2m h=12m CLT slab panel t=250mm w=1.2m h=10m Raised floor Double glazing glass Pre-existing walkaway Double glazing glass screen Mullion Overhead rolling door w=6.6m h=4.5m Makasinii terminal existing laminated wood structure 29. Low pressure HVAC vents 30. Acoustic insolation board

18. 19. 20. 21. 22. 23. 24. 25. 26. 27. 28.

Politics of the Sauna

05. 06. 07. 08. 09. 10. 11.

01. 02. 03. 04.

A — The Roof is a combination CLT panels & insulation together with a system of controlled skylights.

47 Rooms Technical Sandwich 32x120

47 Rooms

Chapter — III

Politics of the Sauna

Notes from the Engineering Department

Chapter — III Politics of the Sauna Notes from the Engineering Department

Bioclimatic Strategies

Bioclimatic Behaviour One of the guiding ideas, embedded in the very core of the proposal is the achievement of outstanding but low energy demanding indoor conditions. Following this idea the project has been developing two essential qualities: heat & light: Onion like room disposition that evolves from the exterior, through lower climatically demanding spaces to the climatically most rigorous space of main exhibition hall situated in the centre of the building. This strategy of highly protective layers that creates different climatic enclosures around the most sensitive room guarantees important energy savings & appropriates comfort conditions. Lantern like roof allows a great amount of high quality skylight in all the rooms but the main exhibition hall. Thus, the daylight, so appreciated in the Finish culture, is the great protagonist of the non-exhibition spaces in the museum. As the translucent roofing solution lets the daylight in the building during the day, it converts the building in a lighthouse during the night events. These two concepts converge in the design of highly translucent but thermally performative roofing system. The building is conceived with highly insulating outer envelope. CLT structural panels together with a 15 cm thermal insulation, resulting in U values of 0,15 W/(m2 K). The translucent roof contains by two multi-layered membranes that conforms a thermal cushion. The thermal performance of this assembly with U values below 0,7 W/(m2 K) for exterior & below 3,0 W/(m2 K) for interior membrane, allow a good thermal performance & results in an extraordinary & uniform daylight factor of 25%. The HVAC system, worked out in accordance with the bioclimatic strategy, is oriented in conditioning both spaces occupied by visitors & by artworks. Heating is provided to the spaces by radiant floor system – the most human body friendly & also suitable for affording climate conditions for art. Displacement ventilation is used in order to guarantee properly the air quality requirements without excesses in energy demand. The thermal energy required for HVAC will be provided by hilly efficient & environmental friendly Helsinki District Heating & Cooling system. The energy behaviour of the museum has been optimized by using transient building energy simulation based on geometric modelling of whole the building & its HVAC

installations, thermal characteristics of applied materials & solutions, for Helsinki climate. The results proved the advantages of the adopted design strategy & achievement of two qualities mentioned initially. The average primary energy demand of HVAC for the different spaces of the Museum is 67 kWh/m2, year. Together with lightning & equipment we expect to be below 100 kWh/ m2, year, a value much lower than the limits prescribed by the Finish law for tertiary buildings (170-240 kW7m2). At the same time, for Helsinki climate & given use, the performance of the Museum may be considered a near Zero Energy Building after the upcoming European legislation. Preliminary Study of the Structure 1 — Exhibition hall The exhibition hall is located inside the existent nave. Its structure is composed of laminated timber porticos. Two different interventions are expected to be developed in this area: In the first place, it is necessary to verify if the resistance capacity of the existing porticos is suitable to support the modifications planned in the project. Among these modifications, it is expected the replacement of the existing roof finishing, placing instead the current finishing CLT panels. Furthermore, if the resistance capacity of the porticos is not enough to support the new charges of the project, it will be necessary to design a reinforcement system for the existing structure. In the second place, it is expected to disassemble the existing structure to execute the new foundations. The new foundations will be located in the level determined by the new project & it will be designed according to the geotechnical report. Afterwards, the structure will be assembled again over the new foundation. 2 — Rooms The rooms are places with different uses such as laboratories, shops, offices or auxiliary areas. The rooms are covered by a gable roof, & the place between the roof & the false ceilings works as a thermal cushion which isolate the building from the outside. The structure of the rooms is composed by vertical CLT panels with interior ribs to reach 40cm thickness. These panels receive the beam loads & are responsible for guarantee the stability of the whole structural system. The beams which cover the rooms are crossed beams. They support the loads from the polycarbonate cover as well as

the false ceiling & 4 points to hang loads up to 2000 kg for each. Some rooms have mobile roof panels, making the room an outdoor place. The offices are located in a second level spanning over the passage of cargo vehicles to the port. The structure in this area will also be CLT panels. These panels will work as beams & interior partitions, with a total span of 12m. BIM BIM is no longer a tool only for architects, experts & programmers. BIM is now the only way to connect the architecture with its users. BIM is a filter. The information comes in & out & it is transformed in order to be easily understandable & manipulated. All the citizens’ desires are processed through this new BIM concept to become actual editable parameters which change the architecture according to people’s, architects & all the other participants’ wishes. But this new concept achieves much more. Time is a new parameter which helps us to understand not only, how the future of the architecture will be, but also the past. BIM 4D connected to people. Which means that BIM 4D is a holistic technology that allows architects to expand their designing concepts to people, & people actively participate in the designing process: a two-way pro-cess. This new concept is applied to several levels of participation. BIM technology as supporting element of the project at all levels. 1 — BIM 4D For people: Construction phase. This tool will help to visualize the transformation of the building site through its construction phase in real time & in 3D. Moreover, it will serve as a tool to test that the construction premises were, are & will be accomplished: the non-interference of the construction of the museum with the use of the port, the non-interference with the pedestrian paths with the use of the terminal & truck ways, etc. It is an actual but easily understandable interface of the BIM model. 01. The Atmospheric tool: This tool will be developed in the same way as the previous one, a down-loadable application, & it is presented in three versions. 02. The citizen’s version: This version can be downloaded by the citizens & tourists of Helsinki. Its use is very similar to the constructive tool: a visualization of the interior spaces & their atmospheric

conditions as well as the data related to their climatic & light characteristics organized in layers that change according to the timeline. 03. The visitor’s version: As well as including the version for the citizen, it will give the user the possibility of participating in the interior atmospheres (once again, parameters one can interfere with: opening & closing windows, moving thermal benches & curtains, spraying water vapour to increase relative humidity, etc.) & it will make the tools available for the user to directly affect the atmospheres. 04. The curator’s version: This version is a simulator. The curator could decide the threshold of atmospheric transformability, which will be directly visualized over the spaces.

Structure

BIM

Sectional Scheme 01. Multiwall polycarbonate with nanogel infill t=70mm 02. Thermal Cushion ventilation vents 03 Esparto threads for acoustic absorption 04. Auto-tuning daylight LED lighting system 05. Three layer ETFE cushion with adjustable solar protection w=6.6m l=20m13. Track lighting system 06. Track lighting system 07. Secondary Track lighting system h=7m 08. Low pressure HVAC vents 09. Intake HVAC vents

Sectional Scheme

47 Rooms

Chapter — IV

Chapter — IV Collection of Atmospheres Learning from Guggenheims

Collection of Atmospheres

Learning from Guggenheim

The Guggenheim Foundation exhibits its collection in three types of atmospheres. The reference collection’s 20th Century avant-garde masterpieces require highly controlled atmospheres of 22ºC ±2.5ºC, with relative humidity of 51% ±5% & no natural light, conditions achieved in the Annex Galleries in the Solomon R. Guggenheim Museum & the classical galleries in the second floor of the Guggenheim Bilbao, & similar to the domestic rooms of the Peggy Guggenheim Collection in Venice. The atrium of Wright´s Building, the Serra Gallery in Bilbao or the former Guggenheim Las Vegas main gallery regularly host site specific installations, performances & large scale (usually post—1960s) pieces that accept more relaxed atmospheric conditions, interaction with the public & les controlled natural light. Finally, the recent BMW Guggenheim Lab, has engaged natural atmospheres in New York, Berlin & Mumbai exploring collective events, participatory processes & relational art. 47 Rooms expands these three conditions adding a range of interior climates. 44

47 Rooms

Conclusion

WEATHER ENTERS THE MUSEUM

Chapter I. 3—16 Interior Citizenry Chapter II. 17—32 Well—Tempered Identity Chapter III. 33—42 Politics of the Sauna Chapter IV . 43—48 Collection of Atmospheres