International Study Photo Book

OMA KUVA/OMAKIRJA J A K O B

FINLAND SUMMER ARCHITECTURE INSTITUTE 2023

M I K R E S

OMAKUVA/OMAKIRJA

182 / tallinn

134 / free travel

68 / tammisaari / villa skeppet

studio

204 / documenting skeppet

98 / diurnal skies

124 / midsummer

expedition

index

216 / studio: sensor y house

110 / precedent analysis

50 / retreat at kiljava

11 / walking helsinki / daily life

06 / firsts steps

prologue

index

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first steps

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01 first steps

emerald leaves ablaze, vivid auroras paint the skies We need the tonic of wildness...

At the same time that we are earnest to explore and learn all things, we require that all things be mysterious and unexplorable, that land and sea be indefinitely wild, unsurveyed and unfathomed by us because unfathomable. We can never have enough of nature -Walden

My first greeting to Helsinki started on my train from the airport - the sight of a birch forest next to an urban trail, I was immediately embraced by its enchanting fusion of urban grandeur and the natural world. The city’s allure surpassed mere architectural marvels; it lay in the harmonious coexistence of civilization and nature, awakening both my scholarly curiosity and romantic sensibilities.

Wandering through Helsinki’s vibrant streets, I marveled at the seamless integration of green spaces within the urban fabric.

This metropolis, on a remarkable scale, showcased humanity’s remarkable ability to interweave nature throughout its bustling core.

The interplay of green spaces formed a tapestry of unparalleled beauty, enveloping the city with an intimate embrace. The resplendent foliage of trees, boasting an opulent shade of green, painted the landscape with a surreal vibrancy. Above, the azure skies served as a luminous backdrop, intensifying the ethereal symphony of this natural ensemble.

Inhaling the crisp, invigorating air, I sensed a delicate blend of urban vitality and the fragrant essence of surrounding flora.

Helsinki’s commitment to preserving the purity of its environment amidst industrialization piqued my academic curiosity, a testament to the city’s unwavering dedication to harmonize progress with ecological sensitivity.

I was immediately aware of an exquisite juxtaposition between urban dynamism and nature’s tender touch, casting a spell of romantic enchantment upon me. Helsinki’s allure transcended the boundaries of architectural splendor; it lay in the intertwining embrace of nature. With an eager heart and an intellect primed for discovery, I embraced the invitation to traverse the realms of Helsinki, a city where the symphony of human creation dances harmoniously with nature’s timeless melody.

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töölö park. first day. 25.05.2023

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walking helsinki + daily life

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harmonic light During my third day in Helsinki, I had the opportunity to visit the Tikkurila Church by OOPEAA, where I spent several hours exploring, and was given a personal tour by the priest. What initially stood out to me about this project was the lightness of the spatial articulation despite the stereotomic heavy concrete construction. The use of board-formed concrete creates a soft, humanizing texture, while the birch ceiling slats add a tectonic articulation that relates to the unique organ.

The terrazzo,birch casework, and furniture further emphasize the lightness, and the splayed apertures mediate the crystal blue light in a clarifying way.

The priest explained to me the communal emphasis of the church, the history of the church that previously lay in its place, and how the programming and design supports variability, and better serves its people. The connection of the Church to the street level with its circulation and cafe was unique, there was a communal lightness to this Church that truly stood out to me.

tikkurila church. helsinki. 25.05.2023

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sage filtered skies My first few days, I was mainly focused on exploring the integration of urban and natural landscapes in Helsinki. This took me through many areas in the city, mainly Lapinlahti and Töölö. One thing that really stood out to me was the auburn brightness that somehow emanated from the green foliage. Furthermore, the low maintenance mentality that whatever grows is the groundcover was very interesting to me from a landscape architecture perspective.

No lawn here, just a celebration of the local vegetation.

The fine gravel of the paths was uniquely kinesthetic, and grounding, the crisp sound was highly meditative as you walk through these urban forests, it is easy to get lost in yourself here, even if a highrise is just a block away.

japanese garden. helsinki. 25.05.2023

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sibelius park. helsinki. 25.05.2023

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island hopping a memorable bonding activity during our first few weeks was finding a private island with a pizzeria shack. We quickly began to spend many weekends here with the owner and her cats, swimming, soaking in the sun, and enjoying beers. The air was always crisp, the birds always mad, and there was something charming and special about both the stillness and splendor this place provided.

pizza island. helsinki. 25.05.2023

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pizza island. helsinki. 25.05.2023

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EMMA By far one of the most intriguing museums I inhabited, the EMMA museum featured an amazing selection of contemporary and historic finnish design, in addition to a well-preserved futuro house.

Despite the museums simple, modular structure, the lighting qualities through the fenestration of varying opacities was dynamic, and grounding in a unique manner for such a large space.

futura house. emma. 23.07.2023

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opaque glass facade. emma. 23.07.2023

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wood relief sculpture. emma. 23.07.2023.

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dinner at yes, yes, yes. helsinki. 29.07.2023.

summer dinner at jari's house. helsinki. 11.07.2023.

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vare at aalto university. helsinki. 29.07.2023.

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helsinki biennali.

One of our more memorable and embodied experiences with art in Finland happened at the Helsinki biennali in Vallissaari, where we were introduced to the unique and amazing landscape of the island. While the weather was extremely intense and varied on this day, we were drawn to the experiential installations and their close relationship to the landscape and surrounding field conditions. We left wishing we had come here earlier, the landscape was grounding and unique, with a priveleged view to Suomenlinna.

vallissaari. 04.08.2023.

vallissaari looking towards suommenlinna. 04.08.2023.

ridge at vallissaari. 04.08.2023.

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fog installation at helsinki biennali. valissaari. 04.08.2023.

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contrasting conditions. a unique aspect of the experience at vallissaari eas the intense contrast between the landscape and subterannean conditions and their sensory differences, not just visually, but also thermally and haptically.

This dialogue and language of these experiences provided an intense sense of embodiment and inspiration for my studio project, and acted as an excellent case study for how to intensify the experiences of my spaces.

vallissaari. 04.08.2023.

decay installation at helsinki biennali. valissaari. 04.08.2023.

vallissaari. 04.08.2023.

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aperture at amos rex. helsinki.18.06.2023.

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aperture at amos rex. helsinki.18.06.2023.

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view from the sauna deck. helsinki 31.07.2023

view from the sauna deck. helsinki 31.07.2023

spending time with abby near kaivopuisto. helsinki. 31.07.2023

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a tender glimmer the lighting quality of the Helsinki central library is what immediately stood out to me in the space. From the diffuse sky lighting of the elliptical apertures, to the delicate fritting of the curtain wall systems, there is an articulation of softness and a gradient of subtle variation that creates a dynamic space.

Attention to detail includes materials and their reflectance. While the roof is very textured (to allow diffuse spread), the wood floors have the perfect amount of sheen to create a pleasant reflectance at the ground level without significant glare.

Simply put, the control and dynamism of the lighting is exquisite.

both images: helsinki central library 11.06.2023.

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rocky landscape. suommenlinna.04.06.2023.

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this is it.

My life is like a stroll upon the beach, As near the ocean’s edge as I can go; My tardy steps its waves sometimes o’erreach, Sometimes I stay to let them overflow.

My sole employment is, and scrupulous care, To place my gains beyond the reach of tides,— Each smoother pebble, and each shell more rare, Which Ocean kindly to my hand confides.

I have but few companions on the shore: They scorn the strand who sail upon the sea; Yet oft I think the ocean they’ve sailed o’er Is deeper known upon the strand to me.

The middle sea contains no crimson dulse, Its deeper waves cast up no pearls to view; Along the shore my hand is on its pulse, And I converse with many a shipwrecked crew.

Henry David Thoreau

rocky landscape. suommenlinna.04.06.2023.

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this is it. my first Sunday in Helsinki took place on the ridges and rocks of the Southwestern edge of Suommenlina. As someone drawn to grassy, prairie like landscapes, I had never seen a landscape of that type merge with the sea in such a way as this. The heavy rocks gracefully threshold into the ridges of wildflowers and into the rolling fieds and mounds of grass bastion plucked onto the shore. There was an Aura of awe difficult to describe, a full-body perception and awareness as I heard every little beckon of the birds, the swans, and the loose gravel beneat my feet. I napped on that rock for about two hours, and felt a meditative contemplativeness as the thermal mass of the rock on the Southern exposure radiated through me. I have never experienced any landscape like this all encompassing, wild, vivid one - brighter than any I have ever seen. napping on a rock. suommenlinna.

04.06.2023.

grassy ridges facing north. suommenlinna.04.06.2023.

picnicking in the field. suommenlinna.

04.06.2023.

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grassy ridges facing north. suommenlinna. 29.07.2023.

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grassy ridges facing southwest. suommenlinna. 29.07.2023.

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kiasma library. helsinki. 02.08.2023.

university of helsinki library. helsinki. 13.06.2023.

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kiasma. helsinki. 02.08.2023.

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a new, old liturgy experiienciing the Temppeliaukion Church was a defining moment for my engagement with Finnish architecture. The unique perspective on the typology of the worship gathering space that seamlessly integrates with the landscape was unlike anything I have seen. There is a refined liturgy to the arrangement of space, the play of light through the structural beams, and the softness of the copper ceiling.

The space is grounded, comforting, and profoundly spiritual despite its unassuming exterior, and simple material palette. The finnish approach to design and nature truly shines through and inspires in this space of worship.

temppeliaukion church. helsinki. 27.07.2023.

temppeliaukion church. helsinki. 27.07.2023.

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a retreat at kiljava

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cultivating connection.

At the end of our first few days walking and exploring the energy and urban vitality of Helsinki, we took a brief journey to Kiljava to retreat in the birch and pine woods full of experimental architecture and surrounded in Sauna and Lake culture. We spent the few days delightfully connected yet isolated from the rest of the world, creating a shared vision for our project, and cultivating the connection necessary to have effective community and work for our Summer institute. The days were spent with long chilly mornings, quick afternoons of intense work, and evenings spent in the Sauna, cooking and sharing stories together, and sitting around fires, sharing who we are, and leaving our own stamp on the retreat. There was a wonderful contrast of landscape, a smell of crisp air, and a slowness that transcended the space, and set the tone for our Summer.

entrance threshold to fsai retreat. kiljava. 27.05.2023.

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evenings spent drawing. kiljava. 29.05.2023.

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vertical expressions. kiljava forest. 28.05.2023

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“old” sauna dock. kiljava. 28.05.2023

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Right: Silver night sky. Kiljava.

Mannerheimintie, 28 May

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Nordic Skies One of the most captivating moments during my time at Kiljava was experiencing the Nordic night sky for the first time after about a week of constant light. The cohort stayed up late into the night, and we experienced the rich layers of the night sky next to a fire. The evolution of the sky was unique, as the sky slowly fell below the horizon, but lingered on it for several hours, at which time a hazy backdrop of silver light appeared from the moon, and the clouds were illuminated like lanterns. Then, as quickly as ever, the light slowly began to fade up from the horizon. The play of light, time, and the stillness of the sky was ravishing, wonderful, and unlike anything I had ever seen - for me, this was a core memory from this experience abroad - a visual I will never forget.

starry campfire by the lake. kiljava. 29.05.2023.

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silver evening sky. photo by grahm mapes. kiljava. 29.05.2023.

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glassy day The afternoons at Kiljava were breathtakingly vibrant, the bright greens of the trees awash into the crystalline reflection of the soft lakeglisten. The air was crisp and chilly, and the filtering of light through the birches onto the shore of reflected clouds was delightful. The contrast from silver sky to crystalline blues, yellows, and greens, produced a unique sense of time that compensates for the lack of night - a unique sensual experience of how time can be presented through the nuance of light and material properties rather than the absence of light.

leaves of filter. kiljava. 27.05.2023

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clouds reflecting by the sauna dock. kiljava. 28.05.2023

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old sauna one of the most novel experiences on my retreat was the introduction to the Sauna, and Sauna culture which Jari provided us with starting from the first day. We learned how to start the fire, the process of heating the sauna, and the rituals associated with the process, in addition to the contrasting rhythm between sauna and lake. This experience not only stimulated my senses, but the kinesthetic experience of starting the fire, experiencing the architecture, light, and elements created an experience of mindfulness and peace as well. This introduction to the sauna became a staple for our trip, and provided a rhythm to our retreat.

“old” sauna. kiljava. 27.05.2023

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preparing the sauna with jari. kiljava. 28.05.2023

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“new” sauna. kiljava. 28.05.2023

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inside the new sauna. kiljava. 28.05.2023

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making messy drawings During our time in Kiljava, we began preparing ourselves to create measured drawings of Villa Skeppet, and therefore used our saunas as practice. My team (Omari, Roarke, Graham, and I) carefully measured the interior of the Sauna and practiced transcribing it into a plan drawing with a highlevel of detail. We were instructed to be both calculated and messy, to reveal the humanistic qualities of our medium, and to express the attention of the graphite on the page, What resulted was a messy, but expressionist drawing, revealing the process of our analysis, and providing a solid foundation for us to build our skills on at Villa Sikeppet.

plan drawing. new sauna. kiljava. 30.05.2023

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tammisaari + villa skeppet

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04 tamissarri

vivid skies, grounds bursting in color This weathered jewel began as normal shards of shattered glass, but given enough time and natural persistence from the seaboards, that sharp, translucent, brittle crystalline material, just so much composite sand, is ground from broken bottles or even distant shipwrecks until sharp edges become smoothed and round.

This cocktail of colour, found among the rocks,

Our time in Tamissarri reflected a major contrast to Kiljava, with its communal energy, and village-like charm, but the strongest thing that initially stood out to me was the environment. It was a complete contrast from Kiljava: the skies and landscapes were boundless and open, with long vistas surrounding. Vivid colors were the most prominent feature, from the bright flora, to the colorful buildings. The air was cooler and brisker, and the seabreeze was prominent.

The most captivating feature of this landscape though was the vivid sky. I could not describe the blueness that permeated the sky, unlike anything I have ever seen. The sky was uniformly crystal, bright and vivid, from early morning to late night.

The light steadily lingered on the horizon, and the blue sky glimmered against the water unlike anything I have ever seen. - I can’t chalk up why the skies at tamissarri are like this, whether it is the clean air, or the sheer volume of water reflectance surrounding, but this created a defining theme and mood in the village - a brightness. The town was energetic but still, vivid, and moving. The skies at Tammisaari will surely stick with me.

crafted by the patient ocean’s constant dance, leads this same glass to lose its former lustre.

But whilst it loses this, it gains a gloss of frost slow-formed that shapes a stronger matter, a shell as tough as nature can command, and fragile glass becomes as hard as diamond.

-Oliver Tearle

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private alley. tamissarri. 30.05.2023.

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both images: morning hike at ramsholmen with grahm, anna, and avery. tammissarri. 01.06.2023.

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textural landscapes as I took many morning walks through the island of Tammissarri, one thing that quickly began to stand out to me was the sandy, fine gravel on nearly all of the walking paths, contrasted by the softness of the lush light green lawns. Unlike the asphalt and concrete sidewalks of Helsinki, or the cushy soil of Kiljava, this ultrafine gravel added a kinesthetic note to the spatial experience of the island, and an audible element to the otherwise still and quiet island. This use of sound and texture as a landscape design element truly stood out to me, and was one learning moment for me on the island.

morning walk near public library. tammissarri. 02.06.2023.

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motel marine. tammissarri. 30.05.2023.

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ramsholmen creek. tammissarri. 01.06.2023.

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rural farm on outskirts of village. tammissarri. 30.05.2023.

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steps down to shore on north side of island. tammissarri. 01.06.2023.

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museum chappe On our first day, we took an opportunity to visit the museum chappe, which showcased a unique and dimensional arrangement of art. For me, seeing this building was highly significant to me, because it was the first building I have occupied consisting of a cross-laminated timber structure, something I have worked on many times through my internships and studio projects. Beyond the simple massing, tectonically articulated in Shou Sugi Bahn rainscreen cladding, was an incredibly light and dynamic interior, graced by delicate articulation of CLT structure and roof slabs. The qualities between the lighting and timber material created a reflective and dynamic space.

The wood was grounding and unique, and created a balance between mass and lightness. Beyond the selection of art, the articulation of the architecture left a lasting memory for me, and was an inspriing example of exquisite detailing.

The relationship between old and new on the streetscape was also a unique learning lesson on how new architecture can contribute to an existing urban fabric.

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Chappe entry. Tamissarri. 31.05.2023.

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aperture at the top-level gallery. chappe. 30.05.2023

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aperture slashing through informal plaza. tammissarri. 30.05.2023.

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shou sugi bahn cladding at offset angles looks towards sky. tammissarri. 30.05.2023.

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chappe facade at varying times of day. left: morning light, right: late evening light. 30.06.2023.

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both images: timber ceiling against soft walls and floors at top gallery.. chappe. 30.05.2023

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04 villa skeppet

effervescent warmth, topographical connection The very essence of architecture consists of a variety and development reminiscent of natural organic life. This is the only true style in architecture.

-Aalto

We spent the majority of our week at Tammissarri at Villa Skeppet, the smallest home Aalto designed, and for his friend Göran Schildt.

Experiencing the home was unique, because rather than touring or analyzing the space, we experienced it directly as a result of our measuring, sketching, surveying, and documentation towards our course project, and this brought about a deeper understanding of the project. The days spent here with the cohort were long and intense, but there was nothing like seeing the villa through all times of day, and understanding the qualities Aalto transcribed into the work.

The quality of lighting combined with materials produced an effervescent quality to the space. The warmth of the birch and the lime-plastered masonry combined with the warm evening sun left an impression of Aalto’s mastery not captured in the monographs.

Furthermore, surveying the project provided a deep appreciation and understanding for the topographical connection of the architecture’s sectional properties and the surrounding landscape. As we analyzed the elevations and contours on the site, we began to understand the threshold condition Aalto creates at the entry and into the foyer, and how it frames the exceptional garden level that graces the sleeping, studying, and dining spaces. Further, we could understand through the topographical study the elevation and directionality of the elevated living space.

Being enveloped in Aalto’s work helped us understand the total work of art the villa is, mainly because of its articulation in how it responds to its surroundings, in elevation, threshold, lighting, and material. This extended timelapse of experience provided a foundation for our understanding of Aalto’s work, and also for the work we would be doing back at Aalto University with our measurements and project documentation.

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Rear garden at study. Villa Skeppet. 30.06.2023.

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front entry. villa skeppet. 30.05.2023.

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Front entry. Villa Skeppet. 30.05.2023.

garden and pond. villa skeppet. 30.05.2023.

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both images: dining room window, morning light. villa skeppet. 30.05.2023

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diurnal skies

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05 diurnal skies

infinite light, infinitely diurnal skies A slash of Blue— A sweep of Gray— Some scarlet patches on the way, Compose an Evening Sky— A little purple—slipped between— Some Ruby Trousers hurried on— A Wave of Gold— A Bank of Day— This just makes out the Morning Sky. -Emily Dickinson

One of the strongest features that immediately stands out in Helsinki, and the most obvious is the sky- for both its slowness in its relation to time, but also for its infinitely changing expression of color.

For me, this was something that took time to fully process, but initially the sense of time was jarring. At first I felt that there was no sense of time, because from wake to sleep there is only daylight, but as one experiences Helsinki, you are slowly awakened to the subtlety of the sky and how it tells time.

The breakdown of this varies every minute, but it can be summarized between morning, day, and night. The morning is soft and gentle, yet warm and graceful. By contrast, the afternoon portion of the day is intensely yellow, and intensely blue. So much so, the grass develops the appearance of a yellow tinge in direct light. The skies reflect the water and are an intensely crisp blue. The night however, presents a dull blade of greyish silver, diffuse, and steadily calm, an extreme contrast from day.

When one becomes aware of these subtle differences, the vocabulary of time and the appreciation for its acknowledgement becomes heightened, as was the case for me. The more I have come to understand the nuance of sky in Helsinki, the more I have been less disturbed by the endless light.

The following images capture glimpses of these diurnal skies, reflected at different times of day.

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tilkanniitty park. yellow day. 14.06.2023

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05 blue morning - ~1km. fro. helsinki city centre

kiasma. yellow day. 12.06.2023

pedestrian bridge near ferry terminal. yellow day. 12.06.2023

park near kaivopuisto. yellow day. 15.06.2023

street near central station. yellow day. 12.06.2023

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05 yellow day - ~1km. fro. helsinki city centre

central railway station. yellow day. 10.06.2023

home near kaivopuisto. yellow day. 12.06.2023

park near kaivopuisto. yellow day. 15.06.2023

awnings at amos rex. yellow day. 10.06.2023

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05 silver night - ~1km. fro. helsinki city centre

esplanade park. silver night. 10.06.2023

central rail station. silver night. 10.06.2023

street near esplanade. silver night. 10.06.2023

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05 silver night - ~1km. fro. helsinki city centre

kaampi. silver night. 10.06.2023

street near kaampi. silver night. 10.06.2023

street near esplanade. silver night. 10.06.2023

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precedent analysis

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06 precedent analysis

Parallels in Nature-Informed Design: The Dipoli and Löyly The Dipoli at Aalto University and the Löyly in Hernesaari, Helsinki are both examples of dynamic Finnish architecture that embraces the site and celebrates public space. Despite this common achievement, though, the buildings are many miles apart. Over 50 years apart in age, with differing programs and scales, the buildings clearly tell of different realities. Beyond this, though, in analyzing the designs of these two projects, it becomes extremely clear that both projects bear a striking parallel in terms of design sensibilities, namely a nature-inspired, environmentally responsive approach to site-geography, formal design, materiality, and site-integration. Through exploring these specific concepts in the context of the two buildings’ site, program, and metaphor, a greater understanding of the Finnish approach to site and environment is understood, and a link is found between these two works of very different scale and proportion.

Interpreting Dipoli The Dipoli at Aalto University (Formerly the Helsinki University of Technology Campus) is a Student Union that was designed in the 1960s by architects Reima and Raili Pietilä, a husband-and-wife team known for designing nature-embracing, theoretically provoking architecture, who won the competition entry for the project. The program was to create a large student center that would serve as the lifeblood of campus and would consist of banquet halls, a student restaurant, beer cellar, auditoriums, club rooms, offices and other administrative spaces.¹ After many entries it was clear to Alvar Aalto, the campus planner, that it was almost impossible in the competition to design a well-functioning building using conventional typologies.² After many iterations, the architects proposed a radical and experimental design to offer something totally unique, and the experimental students were very willing to take it.

At the core of the design proposal, The Wedding March of the Cavemen, the intent was to create a “natural architecture.” ³ At the time, the couple was leading Finland in proposing organic architectural forms that contrasted the functionalist prefabricated modern architecture of the era, very similar to Aalto. They were rooted in an ideal of imitating nature through their design approach, in an honest way.4 Like Aalto, they desired to break the stereotypes of purist modernism, and Reimi wrote that he desired to propose an architectural protest against the Bauhaus-driven, standardized architecture though the Dipoli. 5 To the architects, the Dipoli would be, “a composition where the nature is the creative artist and the Sylvan Genius Loci its theme.” 6 Clearly, there was a desire and direction from the architects to boldly break the shape of sub-standard modernism and propose something rooted in natural, organic forms.

One of the major design elements and conceptual intent strategies for the design of the Dipoli is its integration with its geographic site context, and how this context relates to the formal composition of the building in both metaphor and structure. From one’s first approach to the site, one of the clear connections to the geographic makeup of the site is the emphasis on heavily-grounded stone foundations and the faceted organic massing and angular forms that feel connected to the forest from every angle.7 This expression is what the architects had in mind, which Reima referred to as a “dialogue of nature.” 8 Despite the surrounding park-like, master-planned campus of the University directed by Aalto, the site of Dipoli is somewhat hidden, extremely rocky, and more of a forested position than

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06 precedent analysis the surrounding campus. The idea was to diffuse the large mass onto the natural site through its abstracted natural forms, window walls, and formal arrangement.

The building was intended to be understood as a rocky forest surrounding, and an extension of the landscape. The massive stone foundations connect to the bedrock of the site, a result of massive rock formations resulting from the ice age.9 Even the roof was intended to mimic the geographical contours of the site and its granite crown from the glacial era.10 The form is naturalized and emerges like an ancient ruin, connecting to the naturalist metaphors, and spilling out into the forest. Clearly, there was a critical intention in the designers’ mind to connect to the existing site’s geography, honoring it, bringing focus to it, and spilling out onto its remains in a moving way. When experienced on-site, through the massive stereotomic base, the dynamic angled forms, and the integration into the forest, this transitional relationship to the site is made evident.

Another element that plays a critical role in understanding the Dipoli and its relationship to its site is understanding the basis of intent for its materiality. As part of the architects’ naturalist approach, the couple explored the idea of materials aging in place. Reima said in describing the Dipoli project, that, the building seemed to still be in the process of becoming, and implied that it was unfinished, undergoing change through time.11 In response to this, the facade uses copper and wood paneling in addition to concrete and boulders to emphasize time as a free-form element in the representation of the project, and to create a dialogue with nature through decay. He considered it, “a series of intertwined happenings, both verbal and visual, in which the designers simply took park, enabling the growth of a building, almost as a dipoli. aalto university. 14.06.2023 living thing.” 12 Clearly emphasized through materials, the project utilizes massive stone and concrete to literally root itself in the terrain, in a near-subterranean way, grounding the project in the site, and dissipating into the context. Furthermore, the project uses naturally finished wood windows and cladding to age with the site itself, and to become more rooted in site as the building ages. Most importantly, though, as the copper cladding has aged, it has developed a patina that reflects the eroded surface qualities of the surrounding rocks and forest, and allows the project itself to dynamically undergo change, and connect more to the site with every year.

The layering of facade materials helps to create a transition zone, rather than an opaque cladding of many materials and forms to blur the difference between building and site, utilizing this unique palette of differing materials to connect the project to its design philosophy.13 Clearly, this strategy of material intent shows how the couple went beyond naturalistic design strategies in form, but also embraced an aging, humanistic material palette to mold and change with the natural surroundings over time.

Beyond a sensitive approach to site context and materiality, though, the Dipoli expresses in form and plan arrangement, an appreciation for organic forms and connectivity to nature, while also being honest about its need and balancing a functionalist architectural philosophy. When evaluating the form and

plan of the project, there is a clear divide between the orthogonal, rigidly planned administrative spaces, and the celebratory, organic public spaces that seem to spill out into nature. There is a logic at play and a dynamism to the balance of these spaces in plan. Criticized for having rational and non-rational components, Reima defended it saying that “[I] wanted to give the space serving rational functions rational forms, and that serving irrational functions, irrational forms”.14 This intentional divide between the rational, rigidly programmed functions and the more organically formed interstitial spaces, reflects an honesty in space planning, and creates a dynamic composition. When I experienced the project in person, I was fascinated by the relationship between these two parts of the project, and how their intense contrast creates a unique and dynamic space that is programmatically functional, with expansive space for the in-between. Clearly, in evaluating the design intent, relationship to site, materiality, and formal arrangement of the Dipoli, it becomes clear that the design is highly rooted in its site context and imposes a naturalist design philosophy to create a dynamic space for a complex and everchanging set of programs.

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06 precedent analysis Interpreting Löyly The Löyly is a public Sauna located in the district of Hernesaari of Helsinki on the Baltic Sea. The project opened in 2016 and was designed by Avanto architects. The projects intent was to create a radical public space to accelerate and synthesize residential and public growth in the formal industrial district, and to stand as a cultural monument to Finnish Sauna culture in an area that is experiencing an influx of tourists.15 The project utilizes a slender massing along the sea, composed of a faceted wooden cloak, with a stereotomic sauna beneath. The design reflects a rugged ethos, highly rooted in the site, sustainability, and connection to nature and its culture. The program creates a sauna, restaurant, and publicly navigable roof, all while acting as a condenser for the community and the neighborhood.

The design was conceived by Avanto architects, a firm whose name literally means “hole in the ice”, referring to Finnish winter bathing and reflecting the concept that the architecture should reflect a powerful and sensory enriching experience.16 The initial design proposal was to create a free-floating structure, gently set on the rocks, that would emphasize the sites views, and fit into the new surrounding park development.17 The core concept for the space planning and formal composition was to create a primitive rectangular form containing the hot spaces that is engaged by a free form structure cloaked above the spaces underneath, while providing a transitional and dynamic experience with a gradient of sensual qualities.18 The resulting design cloaks the sauna house with a timber lamella like venetian blinds, and creates an elegant, navigable space on the surface that is monumental, yet seamlessly integrated to the site.

One of the key elements in the design of the Löyly sauna is its site integration, and response to the local geography. The project, while being less than 2 kilometers to the city center, recognizes direct lines of sight to the rocky archipelago landscape beyond, and features a strong connection to the Baltic Sea.19 Part of the design intent was to connect to the site, and respond to it in a subtle and natural, yet innovative way. The designer explained that the building should be an “easy-going faceted construction that is more part of the park then a conventional building” and should be, “like a rock on the shoreline” - a transitional zone between intimate interior and waterfront.20 Furthermore, the building is metaphorically described as a cliff where people may sit and watch the landscape.” 21 When one experiences the building, this becomes obvious. Despite the simple geometry underneath, the wooden cloak with its faceted, low-lying form does in fact reflect more of a landscape-design sentiment and uses unique angles and edges to connect to the rocky landscape and to nestle itself as monumental yet seamless. The navigable cloak becomes a dynamic public space, and a community condenser, and in this way, this simple, but landscape-centered, naturalist approach to integrating the project from its ordinary site into the archipelago beyond becomes the simple parti for the building’s entire form and relationship to its surroundings.

Beyond the building integrating into the landscape through form and massing, the Löyly’s use of materiality further helps connect it to its site and reflects a desire for the project to age in place and adapt with the site. The wood facade, constructed of 4,000 CNC-cut wood members,22 was left untreated to allow the building to weather so that “when the wooden building turns gray, it will [blend, and] become more like a rock on the shoreline.” 23 This thermally modified pine lamella facade not only aims to provide a shading device that is sustainable, but also becomes an integral design element to site-integration, programming, and a landscape-informed design approach, by allowing the literal skin to age in place, and become more like the rocky coastline as it changes, all while reducing maintenance. This sense of patina is integral to the poesis of the project, 24 and becomes visual evidence for the way the project is grounded into its site upon visiting.

Another notable aspect uncovered in experiencing Löyly and analyzing its design is its formal balance of rigid, programmed space versus public, flexible space. This is physically juxtaposed through the rectangular massing of the explicit

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sauna programs against the lamella cloak which takes on an organic, faceted shape, and acts as an interstitial space and dynamic, flexible program and community condenser. This balance shows an approach to creating an organic form that is functionalist in its programming, while maintaining a soft minimalism and a connection to its site. Furthermore, the space between the cloak and the rectilinear programmed spaces becomes an intermediary zone, with a dynamic, shaded lighting quality, while also blurring the line between the outside and inside, and therefore the line between landscape architecture and architecture.25 The project seems to spill out onto the site through the blurring of these lines, and further allows it to be embodied in its context as a landscape monument.26

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06 precedent analysis Comparison: Drawing Parallels in Theory + Expression After evaluating the architects of the Dipoli and the Löyly, their intent for the design approach, and the resulting expressions of form, materiality, and site integration, it becomes clear that there is a strong parallel theme between the two projects in terms of how they relate to their site geography and environment, in addition to how they utilize an environmentally responsive and naturalist approach to massing and materiality in order to create a bold, dynamic architecture that weaves into its landscape.

Despite having vastly different programs, scales, and site conditions, in terms of connection to the site and geography, both projects clearly display a common mastery of understanding for their sites, and a desire to connect to them.

For the Dipoli, the rocky, forested glacial remains of the site are embraced in a heavy, stereotomic construction that becomes subterranean, and blurs the line between rock and building. The unique angular and faceted forms of the exterior walls seem to connect to the lines of the forest and resonate with the surroundings. namely a nature-inspired, environmentally responsive approach to geography, formal design, materiality, and site-integration. The roof seems to mimic the geography of the site, and the project seems to have literally risen from the rocky forest to connect to it.27 The building acts as a metaphor and becomes somehow both a cave and a forest in the site. In the same way, the Löyly embraces the rocky archipelago landscape beyond through its faceted form which seems to spill out into the landscape and into the sea. The lamella cloak literally becomes a rock on the coastline and feels more like a landscape than architecture. The cloak becomes a rocky perch as intended and seems to somehow become one with the site.28 Clearly, the first parallel between these projects, despite their vastly different scales, and contexts, is an approach that seeks to literally embody itself in the site through organically inspired forms and edges that become a monument in the landscape, while finding a grounding resonance to their surroundings.

Another area of overlap between the two projects is their use of materiality. Both projects attempt to resonate with their natural surroundings by specifying materials that patina and age in place and resonate with the context. For the Dipoli, this is heavily emphasized through the copper facade that is unfinished and changes with time, slowly developing a natural tonality and stipple that resonates with the green forest surrounding.29 In the same vain, the Löyly employs an untreated, thermally modified lamella facade to age in place, and weather into the site, developing the same tonality as the surrounding landscape. Furthermore, the layering of both buildings’ facades intends to blur the line between building and landscape,30 further capitalizing on a rich natural material palette to connect to the site, through a natural design philosophy.

Finally, the two projects heavily relate in their formal logics, which juxtapose rigid forms and programs with organic forms and intangible programs. In the case of the Dipoli, the administratively programmed spaces take on orthogonal, rational forms, while the public, flexibly programmed spaces spill into the site through natural interstitial forms. In the same way, the Löyly juxtaposes a rationally formed sauna space and restaurants with an organic cloak that forms a public forum and gathering space that is flexibly programmed for use. Rather than solely emulating natural “organic” forms, both projects honestly acknowledge their need for functionalist and rational spaces, and balance these with soft, organic forms, encouraging casual and intangible interactions among users.31 This commonality seems to be the strongest theoretical design parallel between these two projects, despite their 50-year time gap and contradicting programs and budgets.

Clearly, an emphasis on creating projects that balance rationalism while embracing site, metaphor, and humanism is a strong connection between the two projects.

This approach embraces intense landscape integration and the creation of an honest monument to age with the site itself, in addition to a spirit allowing the projects to blur between building and landscape, ensuring seamless occupation and enjoyment for both rigid and flexible programming. This strategy boldly

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represents the Finnish commitment to respecting and honoring the landscape, while simultaneously engaging the senses with a counterintuitive and provocative design ethos. Despite differences in decades, the projects find grounding in their connection to their individual geography and natural forms to create a design that is sensitive to site and agnostic to time.

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06 precedent analysis Endnotes 1. Vesikansa, Kristo, SAFA. “Constructing Identity - The Competition for the Dipoli Student Union Building in 1961-62.” 5th International Conference on Competitions 2014 Delft , 2014.

18. Ibid.

2. Ibid.

20. Ibid.

3. “Aalto University Main Building Dipoli.” ALA, 20 July 2022. Accessed 20 June 2023.

21. Weekly, Helsinki Design. “10 Design Facts You Need to Know about Löyly.”

Helsinki Design Week, 1 Mar. 2023. Accessed 20 June 2023.

4. Kuhlmann, Dorte. “Frans Reima Ilmari Pietilä and Raili Pietilä .” 20th Century Architecture. Accessed 20 June 2023.

22. Hara, Ville, and Anu Puustinen. “Löyly Sauna.” Technology|Architecture + Design, vol. 7, no. 1, 2 Jan. 2023, pp. 35–37, doi:10.1080/24751448.2023.217 6134.

19. “Our Story: Löyly.” Our Story | Löyly. Accessed 20 June 2023.

5. Vesikansa, Kristo, SAFA. “Constructing Identity - The Competition for the Dipoli Student Union Building in 1961-62.” 5th International Conference on Competitions 2014 Delft , 2014.

23. “Our Story: Löyly.” Our Story | Löyly. Accessed 20 June 2023.

24. “Löyly Public Sauna and Restaurant · Finnish Architecture Navigator.” Finnish Architecture Navigator. Accessed 20 June 2023.

6. Chudoba, Minna Kristiina. “Designing with Nature: An Interpretation of the Legacy of Eliel Saarinen, Alvar Aalto, and Reima Pietilä.” Northernness, by Anne Elisabeth Toft and Magnus Rønn, Nordic Academic Press of Architectural Research, Se, 2022.

25. Ibid.

26. Ibid.

7. Vesikansa, Kristo, SAFA. “Constructing Identity - The Competition for the Dipoli Student Union Building in 1961-62.” 5th International Conference on Competitions 2014 Delft , 2014.

27. Kuhlmann, Dorte. “Frans Reima Ilmari Pietilä and Raili Pietilä .” 20th Century Architecture. Accessed 20 June 2023.

8. Kuhlmann, Dorte. “Frans Reima Ilmari Pietilä and Raili Pietilä .” 20th Century Architecture. Accessed 20 June 2023.

28. Hara, Ville, and Anu Puustinen. “Löyly Sauna.” Technology|Architecture + Design, vol. 7, no. 1, 2 Jan. 2023, pp. 35–37, doi:10.1080/24751448.2023.217 6134.

9. Chudoba, Minna Kristiina. “Designing with Nature: An Interpretation of the Legacy of Eliel Saarinen, Alvar Aalto, and Reima Pietilä.” Northernness, by Anne Elisabeth Toft and Magnus Rønn, Nordic Academic Press of Architectural Research, Se, 2022.

29. Vesikansa, Kristo. “Dipoli Building.” Docomomo Suomi Finland English.

Accessed 20 June 2023.

30. Vesikansa, Kristo, SAFA. “Constructing Identity - The Competition for the Dipoli Student Union Building in 1961-62.” 5th International Conference on Competitions 2014 Delft , 2014.

10. Kuhlmann, Dorte. “Frans Reima Ilmari Pietilä and Raili Pietilä .” 20th Century Architecture. Accessed 20 June 2023.

11. Chudoba, Minna Kristiina. “Designing with Nature: An Interpretation of the Legacy of Eliel Saarinen, Alvar Aalto, and Reima Pietilä.” Northernness, by Anne Elisabeth Toft and Magnus Rønn, Nordic Academic Press of Architectural Research, Se, 2022.

31. Ibid.

12. Ibid.

13. Vesikansa, Kristo, SAFA. “Constructing Identity - The Competition for the Dipoli Student Union Building in 1961-62.” 5th International Conference on Competitions 2014 Delft , 2014.

14. Ibid.

15. “Löyly.” Avanto. Accessed 20 June 2023.

16. Ibid.

17. Mena, Florencia. “Löyly / Avanto Architects.” ArchDaily, 30 June 2016.

Accessed 20 June 2023.

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06 precedent analysis Bibliography “Aalto University Main Building Dipoli.” ALA, 20 July 2022, ala.fi/work/aalto- university-student-centre-renovation/. Accessed 20 June 2023.

Chudoba, Minna Kristiina. “Designing with Nature: An Interpretation of the Legacy of Eliel Saarinen, Alvar Aalto, and Reima Pietilä.” Northernness, by Anne Elisabeth Toft and Magnus Rønn, Nordic Academic Press of Architectural Research, Se, 2022.

Hara, Ville, and Anu Puustinen. “Löyly Sauna.” Technology|Architecture + Design, vol. 7, no. 1, 2 Jan. 2023, pp. 35–37, doi:10.1080/24751448 .2023.2176134.

Kuhlmann, Dorte. “Frans Reima Ilmari Pietilä and Raili Pietilä .” 20th Century Architecture, architecture-history.org/architects/architects/ PIETILA/biography.html. Accessed 20 June 2023.

“Löyly Public Sauna and Restaurant · Finnish Architecture Navigator.” Finnish Architecture Navigator, finnisharchitecture.fi/loyly-public-sauna-and- restaurant/. Accessed 20 June 2023.

“Löyly.” Avanto, avan.to/works/loyly/. Accessed 20 June 2023.

Mairs, Jessica. “Avanto Architects Builds Coastal Wooden Sauna in Helsinki With.”

Dezeen, 30 June 2016, www.dezeen.com/2016/06/30/avanto- architects-loyly-coastal-sauna-helsinki-faceted-timber-cloak/. Accessed 20 June 2023.

Mena, Florencia. “Löyly / Avanto Architects.” ArchDaily, 30 June 2016, www. archdaily.com/790432/loyly-avanto-architects. Accessed 20 June 2023.

“Our Story: Löyly.” Our Story | Löyly, www.loylyhelsinki.fi/en/the-loyly-story.

Accessed 20 June 2023.

Vesikansa, Kristo, SAFA. “Constructing Identity - The Competition for the Dipoli Student Union Building in 1961-62.” 5th International Conference on Competitions 2014 Delft , 2014.

Vesikansa, Kristo. “Dipoli Building.” Docomomo Suomi Finland English, en.docomomo.fi/projects/dipoli-building/. Accessed 20 June 2023.

Weekly, Helsinki Design. “10 Design Facts You Need to Know about Löyly.”

Helsinki Design Week, 1 Mar. 2023, helsinkidesignweek. com/2016/06/14/10-design-facts-you-need-to- know-about-loyly/?lang=en. Accessed 20 June 2023.

“Aalto University Main Building Dipoli.” ALA, 20 July 2022, ala.fi/work/aalto- university-student-centre-renovation/. Accessed 20 June 2023.

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07

midsummer

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07 midsummer

trail expedition nuuksio national park “The grass so little has to do, — A sphere of simple green, With only butterflies to brood, And bees to entertain, And even when it dies, to pass In odours so divine, As lowly spices gone to sleep, Or amulets of pine.

And then to dwell in sovereign barns, And dream the days away, — The grass so little has to do, I wish I were the hay!”

-Emily Dickinson

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The first portion of our midsummer weekend was spent on a long trail hike at Nuuksio national park in Espoo. Here, we spent many hours exploring landscapes we have never seen, birch and spruce forests, spring-fed lakes brimming with lily pads, glacial rock reveals, and lichen covered forest floors. It was amazing to see a forest of different foliage, colors, life, and energy. It was amazing to see the variety of wild mushrooms and berries sprouting all over the forest.

Beyond all this, what was apparent to us was the high emphasis on respect for the land in Finland which really stood out to us during our time. The lichen is extremely protected, the campsites are carefully regulated, and the forest trails are well cared for, this was beyond anything I have seen in the United States, and this attitude towards nature was very inspiring.

As we sat next to the mallards and other birds, our experience was highly meditative and inspiring, and the peace of the forest was a contrast to the vibrancy of helsinki. This was a wonderful midsummer experience to remember.

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lily pads. nuuksio park. 25.06.2023

mallard on the pond. nuuksio park. 25.06.2023

forest relief. nuuksio park. 25.06.2023

old-growth forest. nuuksio park. 25.06.2023

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farm animals. nuuksio park. 25.06.2023

pond. nuuksio park. 25.06.2023

glacial boulders with lichen. nuuksio park. 25.06.2023

lily pads along cliff. nuuksio park. 25.06.2023

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Katajanokanluoto We headed back as a cohort to Katajanokanluoto or pizza island, as we lovingly refer to it, for a midsummer celebration where we shared drinks, watched the sunset, and enjoyed fresh pizzas and each other's company. The atmosphere was lively, joyous, and calm - it was the perfect way to end our midsummer, and to soak in the Summer.

katajanokanluoto. 26.06.2023

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ferry to katajanokanluoto. 26.06.2023

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08

free travel

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08 free travel

oslo, norway Give me the long, straight road before me, A clear, cold day with a nipping air, Tall, bare trees to run on beside me, A heart that is light and free from care.

Then let me go! – I care not whither My feet may lead, for my spirit shall be Free as the brook that flows to the river, Free as the river that flows to the sea.

My free travel started in Norway where I spent several days in Oslo exploring the city, its architecture, and also spending time hiking in nature overlooking the fjords and other surrounding wilderness.

What immediately stood out as soon as I arrived in Norway was the intensely contemporary nature of the city, and the very experimental architectural agenda at play in the city from institutional architecture to the aker brygge. The public spaces are full of fairly ground-breaking architecture, and the influence of major architecture firms like Snohetta is certainly at play.

I thoroughly enjoyed my time spent throughout the shaded public spaces and vast galleries, but the most meaningful experience in Norway was definitely with its wilderness and nature. I had never seen birch or spruce forests, like the well-preserved ones in Norway, in addition to the immense waterfalls, and more steep topography compared to other Nordic countries. Oslo was an intensely grounding city, rooted in its landscape, with a young spirit for the groundbreaking.

-olive runner

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frogner park. oslo. 06.07.2023

grunnerlokka. oslo. 05.07.2023

public library. oslo. 06.07.2023

damstredet. oslo. 06.07.2023

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made in oslo opera. oslo. 04.07.2023

oslo opera. oslo. 04.07.2023

oslo opera. oslo. 04.07.2023

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train to stockholm near oslo. oslo. 07.07.2023

oslo fire station. oslo. 04.07.2023

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oslo opera. oslo. 04.07.2023

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oslo opera. oslo. 04.07.2023

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vettakollen. oslo. 05.07.2023

aker brygge. oslo. 05.07.2023

aker brygge. oslo. 05.07.2023

damstredet. oslo. 06.07.2023

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vettakollen. oslo. 05.07.2023

vettakollen. oslo. 05.07.2023

vettakollen. oslo. 05.07.2023

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08 free travel

stockholm, sweden "Lost in the world, full of wonderers, on this amusing journey, unaware of the end.

Past experiences, full of fear and thrill, alerting me, From all the possible threats.

Nothing is more worse than, Making a futile attempt, of killing the curiosity.

So....

I'm freeing my soul.

After each adventure, The mirror shows, An unknown face, With madness in veins, Enjoying this crazy voyage.

I spent a few brief days in Stockholm where I was shifted to a very different energy from Oslo, that of density and vitality.

Compared to Helsinki and Oslo, stockholm is highly populous, and the size and scope of the city matches.

Besides the bustling urban fabric of bakeries, retail, and an assortment of museums, the connection of the city really stood out, namely the artistic underground, and the system that connects the city.

I really particularly enjoyed the emphasis on nature, and the pockets of nature scattered throughout, and how the city had a definitely older feel compared to Helsinki, which left a distinct mark. My days were filled with visiting gardens, orchards, and great works of urban planning - I was grateful for a unique, contrasting experience to Helsinki.

-Soumya Jha

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residence near mariaberget. stockholm. 07.07.2023

glazed tiles in metro. stockholm. 07.07.2023

residence near mariaberget. stockholm. 07.07.2023

residence near mariaberget. stockholm. 07.07.2023

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vasa museum. stockholm. 08.07.2023

t-centralen. stockholm. 09.07.2023

vasa museum. stockholm. 08.07.2023

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vasa museum. stockholm. 08.07.2023

vasa museum. stockholm. 08.07.2023

vasa museum. stockholm. 08.07.2023

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rosendal garden. stockholm. 08.07.2023

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rosendal garden cafe. stockholm. 08.07.2023

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gamla stan. stockholm. 09.07.2023

gamla stan. stockholm.

gamla stan. stockholm. 09.07.2023

royal palace. stockholm. 09.07.2023

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vasa museum. stockholm. 08.07.2023

rosendal garden. stockholm. 08.07.2023

djurgarden. stockholm. 08.07.2023

OMAKUVA/OMAKIRJA

FINLAND SUMMER ARCHITECTURE INSTITUTE

08 free travel

porvoo, finland I'd like to get away from earth awhile And then come back to it and begin over.

May no fate willfully misunderstand me And half grant what I wish and snatch me away Not to return. Earth’s the right place for love: I don’t know where it's likely to go better.

I'd like to go by climbing a birch tree, And climb black branches up a snow-white trunk Toward heaven, till the tree could bear no more, But dipped its top and set me down again.

That would be good both going and coming back.

One could do worse than be a swinger of birches.

We spent one of our last weekends on a quick day trip to Porvoo where we spent the day exploring the small town, visiting the local shops, and hiking the various trails throughout the town. I was really interested in the planning of the city, and its high density despite the low population. I also found the infill housing to be of note, as it mimics some of the aesthetic qualities of the famous red cottages along the river in a unique and contemporary way.

The streets were lined with vintage and antique shops specializing in glassware and ceramics. We were amazed by the selection of arabia and littala options, and also by the amazing textiles offered by local artisans. Many hours were spent in the cafes and restaurants in Porvoo which were exceptionally charming and quaint. We enjoyed the slow pace of the town, and the intimate streetscapes and urban rooms architecturally. This was a memorable and bittersweet experience with my friends as we neared the end of this trip, and I hold Porvoo dearly in my heart because of this.

-Robert Frost

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cottage along river. porvoo. 05.08.2023

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housing development mimicking red okre finish.. porvoo. 05.08.2023

hiking trail. porvoo. 05.08.2023

lily pads along riverwalk. porvoo. 05.08.2023

forest trail. porvoo. 05.08.2023

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housing development mimicking red okre finish.. porvoo. 05.08.2023

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FINLAND SUMMER ARCHITECTURE INSTITUTE

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residential alley. porvoo. 05.08.2023

cottages along river. porvoo. 05.08.2023

private residence. porvoo. 05.08.2023

OMAKUVA/OMAKIRJA

FINLAND SUMMER ARCHITECTURE INSTITUTE

08 free travel

esbo retreat Cedar wood and fire sweat and aromatic heat ladles spilled on rocks heated through unto the core then getting up and leaving and rolling naked in the water with a painful ecstasy followed by relaxation a deep sense of well being and very pink skin” -David Walker

OMAKUVA/OMAKIRJA

Anna and I decided to retreat from Helsinki for a weekend in the middle of July. We had originally planned to go campign in a national park for a weekend, but spontaneously ran across a unique opportunity to stay in the backyard sauna cottage of the partners of Pook architects in Esbo.

The retreat was amazing, we got to stay in a cabin we had previously seen published in architecture magazines, and spent the weekend at the nearby lake, using the wood-burning sauna, and picking berries overlooking the lichen-covered forest. The partners of the firm gave us a personal tour of their property, the buildings they've designed on it, and their horses and stables.

We spent hours talking about architecture, especially timber architecture in Finland. We seized the day and rested hard, soaking up the weekend. It was a lovely way to spend the weekend full of great hospitality, and quite possibily my favorite memory, and the most spontaneous at that, of the trip.

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shed in the forest. esbo. 15.07.2023

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horse stable attic. esbo. 15.07.2023

historic forest. esbo. 15.07.2023

cabin retreat. esbo. 15.07.2023

treehouse. esbo. 15.07.2023

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FINLAND SUMMER ARCHITECTURE INSTITUTE

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tectonic assembly As we took a tour of the grounds, Kataariina, the homeowrner showed us their unique architectural approach to the house and its unique sensitivity to the land it is on.

The house is an all timber structure that is embedded in the rock face below, and is naturally ventilated to prevent decay of the wood piers. Additionally, the facade is all timber, and uses rainscreen ventilation to operate effectively in the climate. It was a great learning lesson on how natural materials and low-tech solutions can often be the most sustainable ones, and even the most beautiful.

pook architects office + retreat. esbo. 15.07.2023

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by the fire.

Due to the threat of forest fires in Finland at this time of year, we were not able to use the barbecue and had to resort to the Sauna fireplace to cook out meals.

While this first seemed an inconvenience, this was a unique way for us to perfect starting the sauna fire, and also to gain an appreciation for the simple but profound role of fire and thermal warmth in a small domestic typology like a Sauna cottage. We greatly enjoyed our meals and the embodied process - and made great memories along the way.

path to retreat. esbo. 15.07.2023

cooking kebabs in the sauna heater. esbo. 15.07.2023

cooking kebabs in the sauna heater. esbo. 15.07.2023

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02

berry picking with anna in the morning. esbo. 15.07.2023

OMAKUVA/OMAKIRJA

FINLAND SUMMER ARCHITECTURE INSTITUTE

09

tallinn estonia

OMAKUVA/OMAKIRJA

FINLAND SUMMER ARCHITECTURE INSTITUTE

09 tallinn

tallinn, estonia "I'm chasing summer nights, prolonged sunsets, serene evenings, the moments that feel most important.

I had the great joy to visit Tallinn with the cohort in July, where we spent a few days exploring the historic city, landscape, architecture, and also the contemporary areas of the city. We also gained an exposure to the complex and unique history of Tallinn, and also the troubles it endured under communism, contrasted by the countries now matured cultural identity.

I'm chasing lingering light, moderate breezes, perfection in understated days, the memories we don't realize will last forever."

I was simply amazed by tallinn. It is a city that is almost never mentioned, but was in my opinion, one of the most beautiful and interesting places I have ever been. While small in size, the city has a wide array of cultural institutions, charming streets, but more importantly a bright and young energy, and culture of art that seems to carry the city into the future.

-Robyn Petrik

OMAKUVA/OMAKIRJA

Architecturally, the city is remarkable, and features an incredibly well preserved old town, surrounded by some of the most pedestrian-friendly, contemporary developments I have ever seen. It was immediately clear how tallinn is a true model for a city that integrates old and new. I thoroughly enjoyed my time spent here, bonding with friends, meeting locals, and learning something from a very special place wih a unique story.

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vanalinn. tallinn. 21.07.2023

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memorial to victims of communism. tallinn. 22.07.2023

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FINLAND SUMMER ARCHITECTURE INSTITUTE

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memorializing During our time in Tallinn, we had the opportunity to visit the memorial to victims of communism which was not only incredibly impactful to tallinn's culture, but also an amazing example of contemporary architecture and its agency to suggest perception through its articulation of light and space.

The liminal space between the monumental walls forced perspective and view, and also captures the immensity and significance of the memorial, in addition to the installation and pavilion which captures the monumental but individual nature of estonias history.

both images: memorial to victims of communism. tallinn. 22.07.2023

OMAKUVA/OMAKIRJA

FINLAND SUMMER ARCHITECTURE INSTITUTE

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memorial to victims of communism. tallinn. 22.07.2023

fortified wall in old town. tallinn. 21.07.2023

chocolate cafe. tallinn. 21.07.2023

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memorial to victims of communism. tallinn. 22.07.2023

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FINLAND SUMMER ARCHITECTURE INSTITUTE

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balancing the old.

Very notable to the urban fabric of tallinn is how the city integrates highdensity, contemporary housing and institutional buildings with the old town, but also allows them to shine through unique design, materials assembly, and a connection to their sites. I was exceptionally impressed by the urban infill in Tallinn, and found it to be one of the most unique features by far.

contemporary housing on the edge of the city. tallinn. 22.07.2023

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museum of architecture installation. tallinn. 21.07.2023

museum of architecture installation. tallinn. 21.07.2023

museum of architecture installation. tallinn. 21.07.2023

museum of architecture installation. tallinn. 21.07.2023

OMAKUVA/OMAKIRJA

FINLAND SUMMER ARCHITECTURE INSTITUTE

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old town. tallinn. 21.07.2023

corten steel facade on contemporary housing. tallinn. 21.07.2023

ship museum. tallinn. 21.07.2023

OMAKUVA/OMAKIRJA

FINLAND SUMMER ARCHITECTURE INSTITUTE

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urban play. of note in the ubran planning and infill in Tallinn was the variety of playscapes created in pockets of prior industrial uses.

It seems that play is woven into the city, in opportunities not just for children, but for adults as well. These parks are micro in size, often taking up a few parking spots worth of space, but have a large impact on the feel of the urban room, and the social fabric of an ourdoor space.

children playing on a tightrope. tallinn.

21.07.2023.

playground near a kindergarten. tallinn. 21.07.2023.

children playing on a tightrope. tallinn.

21.07.2023.

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monumental views. tallinn. 21.07.2023.

submarine hatch. sea museum tallinn. 21.07.2023.

museum art installation. tallinn. 21.07.2023.

OMAKUVA/OMAKIRJA

FINLAND SUMMER ARCHITECTURE INSTITUTE

10

documenting skeppet

OMAKUVA/OMAKIRJA

FINLAND SUMMER ARCHITECTURE INSTITUTE

10 documenting skeppet

documenting skeppet "Building art is a synthesis of life in materialized form We should try to bring in under the same hat not a splintered way of thinking, but all in harmony together" -Aalvar Aalto

The culmination of our first session of the semester abroad was the creation of two models and a set of drawings resulting from the sketches, measurements, and other data we collected at Villa Skeppet in Tammisaari. We created a 1:100 site model, 1:20 sectional model, and a series of orthographic projections.

I was part of the site-model team which was an incredible team and process. I had the responsibility of assembling all of our survey data in grasshopper to create a topography we could cnc mill out of a thick sheet of baltic birch plywood. Additionally, I created a scaled 3d model of the model we would create with exact thicknesses for us to laser cut and fabricate into the final model.

My behind the scenes work allowed us to have a smooth workflow resulting in a model with a high degree of craft. We enjoyed the iterative process of developing our techniques, from creating jigs, to mitering corners, and dialing in the laser-cutter to eliminate char. We were interested in a clean model that conveyed diagrammatic qualtiies through tones and natural materials.

I am ultimately exceptionally proud of our model and its craft, and the ensemble of the 1:20 model and the orthographic drawings which came to fruititon at our final review. This project helped me to grow in my digital skills, hand-modeling abilities, and also my ability to envision with a team, which was highly rewarding and bonding for the cohort.

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1:100 model. perspective.

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1:100 model. front elevation.

1:100 model. rear garden view.

1:100 model. front approach.

1:100 model. site view.

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FINLAND SUMMER ARCHITECTURE INSTITUTE

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10 documenting skeppet

1:100 model. plaque.

1:100 model. rear garden.

1:100 model. rear garden.

OMAKUVA/OMAKIRJA

FINLAND SUMMER ARCHITECTURE INSTITUTE

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10 documenting skeppet

1:100 model. street view

1:20 model. sectional perspective looking towards living spaces.

1:20 model. interior living room perspective.

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drafting pin-up. orthographic projections.

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FINLAND SUMMER ARCHITECTURE INSTITUTE

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10 documenting skeppet

drafting pin-up. orthographic projections. + process sketches.

OMAKUVA/OMAKIRJA

FINLAND SUMMER ARCHITECTURE INSTITUTE

11 sensory house suomenlinna

studio: sensory house suomenlinna “significant architecture makes us experience ourselves as complete and embodied spiritual beings” " the sense of self, strenghtened by art and architecture, allows us to engage fully in the mental dimensions of dream, imagination and desire" -Juhanni Pallasmaa

OMAKUVA/OMAKIRJA

Thesis: architecture can articulate enclosure to distill light and water; to filter and compress sensory perception into concentrated experiences - “a place not to step away from the world, but to see it microscopically My studio project proposes a series of sensory houses at the Southwestern edge of Suomenlinna that act as art installations, evoking the sensations of the unique Finnish climate and experience as hyperbolic, intense, and embodied moments.

This is initiated via a biophillically inspired timber roof "jacket" which uses cellular baffles to create different effects with light, water, and sound to express contrasts of light intensity, color, warmth, tonality and other aspects of Finland throughout the year. The series of pavilions ultimately nest along the rocky beach and provide shaded refuge under the structure suspended on pilotis, furthering the public space experience, and allowing fluid circulation from the site into the sensory houses. The spaces ultimately allow for a provocation of the sensory wonders of Finland's contrasting climate, interurpting the tourism of Suomenlinna with an intense, embodied experience.

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approach. winter night. perspective.

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house of light: summer. focal delight. perspective.

OMAKUVA/OMAKIRJA

house of light: winter. Scarcity of Perception. perspective.

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house of refuge: satin coldness. liminal discomfort. perspective.

house of refuge: panoptic intensity. potency of warmth. perspective.

house of color: hypersaturation. euphoric cloudburst. perspective.

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FINLAND SUMMER ARCHITECTURE INSTITUTE

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11 sensory house suomenlinna

interstitial circulation. perspective.

engaging sea: approach. perspective.

site engagement. perspective.

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FINLAND SUMMER ARCHITECTURE INSTITUTE

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11 sensory house suomenlinna

approach: winter glow. perspective.

OMAKUVA/OMAKIRJA

beacon in the night: play of phase. play of color. perspective.

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11 sensory house suomenlinna

architectural plan + site context

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FINLAND SUMMER ARCHITECTURE INSTITUTE

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11 sensory house suomenlinna

longitudinal section perspective

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FINLAND SUMMER ARCHITECTURE INSTITUTE

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11 sensory house suomenlinna

pin-up wall

OMAKUVA/OMAKIRJA

FINLAND SUMMER ARCHITECTURE INSTITUTE

12 epilogue

rolling home Some day I should dearly love, it is true, To sail to the old Home over the sea; But only if Father and Mother went too, With Willy and Patrick and Eily and me.

For Home is Home wherever it is, When we’re all together and nothing amiss.

-Juliana Horatia Ewing

As I reflect on my time studying in and experiencing Finland, I am beginning to understand how my time here has changed me, and grown me. My appreciation and sensitivity to a world unlike one I have ever known has grown. I have developed an architectural appreciation for the scarcity of light and resources I had never prior considered, and an appreciation for the nature of wood as architectural element.

I have experienced a culture of embodiment and contrasts, from Sauna to satin evening skies, and I have been welcomed by a population that is warm and kind. My time in Finland has been monumental in developing a spirit of exploration and courage, and a desire to embrace the simple embrace of life only found in the Nordic region. Most importantly, though, I am changed by the people I have met, the support I have received, and the family I developed in this home away from home. I will be back again, and in the meantime I will hold this experience dearly, while allowing it to influence my perspective going forward.

Thank you Finland.

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aperture at amos rex. helsinki.18.06.2023.