Ateljé Sotamaa Architecture - Designing Human Experiences

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PUBLICATIONS IN THE SERIES VOL01 INTRODUCTION VOL02 ARCHITECTURE VOL03 INTERIORS VOL04 EXHIBITION ARCHITECTURE VOL05 FURNITURE & LIGHT VOL06 PRODUCTS VOL07 ART & EXPERIMENTATION VOL08 COMMUNICATION VOL09 RESEARCH

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Content Kissing Helsinki Meteorite Hile Heat Ultima Thule Atelier House World Expo Canberra Roof House Guest House Sauna National Museum Tampere Appeal to Reason Kehla Cottage Under Her Wing Kehla Stall Open Arena Terra Cultura Archipelago Breeze Fog House Narva World Trade Center Landscraper Asikkala

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Introduction We design human experiences. We make the values and visions of our clients understandable and visible. ​ Based out of studio in Helsinki we create buildings, spaces, objects, infrastructure and artworks that change the way people think, feel and behave.

Ateljé Sotamaa is an international design and architecture studio. We have realized projects in Finland, Sweden, UK, Italy, USA, Japan and China. ​ We use ingenuity and digital technology to design projects that are unique, affordable and buildable.

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Kissing Helsinki

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A participatory museum The 21st century art museum embraces public participation. The emphasis in the production of art has earlier been in the relationships between the artist and the subject of art or more recently, between the artist and the art institution. Comparably, our underlying concept of art emphasizes the relationship between art and the public.

In this perspective, a museum becomes a collaborative place for both the institution and the citizens.

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An urban platform The Guggenheim Helsinki museum is the programmatic and spatial result of urban life - the flows and focal points of people in the public space, through the museum area and connecting the museum to its surrounding areas. The city and the museum kiss each other. The URBAN SQUARE between the museum and the Market Hall is a gathering place for urban activities and events.

From there one enters the inner courtyard of the museum. This is THE VOID, the central space for diversity, where the public kisses the museum. It could be a home for performances, sculpture, experimental structures, events, such as the Restaurant Day – we keep the possibilities open. The place is constantly evolving through metamorphosis.

From the void there is a connection to the waterfront. The urban square is connected to Laivasillankatu through the void and we actually propose channeling the pedestriancyclist connection of the street through the museum courtyard. This attracts people to enter the void. The flow continues also to the top of the building and to Tähtitorninmäki.

From the viewpoint of public accessibility, the site becomes a terrain of public gathering and activities.

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The spatial organization of the building One enters the museum through the courtyard. This emphasizes the public character of the building. The entry hall opens to the sea. This is a high space equipped with staircases connected to each of the floors.

The solution allows maximum flexibility in dividing the building into separate exhibitions. The exhibition spaces form loops.

The envelope creates a wood-clad shell and atmospheric interior space. The double skin forms an envelope, which is flexible in terms of use. The poche between the two surfaces is occupied by technical systems and structures, but also human space when possible.

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Meteorite

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Exciting architecture creates stages for a good life.

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The Misfit - A Strategy Perfect for Wood Designing with digitally manufactured wood, such as cross laminated timber (CLT) necessitates new architectural design strategies, which make the most out of the material and the manufacturing process.

The Meteorite, which has been featured in the images above, is an example of such a strategy. It is a three story residential building currently under construction, made solely of cross laminated timber.

Its design is based on a contemporary organisational strategy, which I have nicknamed the misfit.

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In the misfit there are two formal systems which generate an inbetween space called the poche. The air in the poche acts as insulation for the building and in addition it contains inbuilt storage as well as all technical systems, which can be easily accessed and maintained.

Aesthetically the misfit strategy allows for the creation of a large scale monolithic form on the outside, which addresses the scale of the forest, and an intricate human scale spatial arrangement on the interior.

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In designing the Meteorite we have attempted to holistically address and rethink all of aspects of a wooden house; its aesthetics, atmosphere, social and political space, figure ground relationship, part to whole relationships, relationship to context, repetition and variation within a community, building physics, technical systems, manufacturing logistics, construction, circular economies, maintenance and lifecycle management.

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Picture of the inside structure.

Picture of the outside surfaces.

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Hile Public Building

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Heat

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Digital technology enables the creation of unique design economically.

Heat wooden sauna for a private client 2016.

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The spatial organization of the building One enters the museum through the courtyard. This emphasizes the public character of the building. The entry hall opens to the sea. This is a high space equipped with staircases connected to each of the floors.

The solution allows maximum flexibility in dividing the building into separate exhibitions. The exhibition spaces form loops.

The envelope creates a wood-clad shell and atmospheric interior space. The double skin forms an envelope, which is flexible in terms of use. The poche between the two surfaces is occupied by technical systems and structures, but also human space when possible.

Plaster Study Model

3D Printed Study Model

Laser Cutted Playwood Study Model

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Ultima Thule

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Circulation Diagrams

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THE DIGITAL AND THE MATERIAL The design fuses contemporary formal sensibility with the intense, haptic materiality of wood - seeking an expression fitting a library of and for the 21st century.

INCONGRUENCE The section illutrates the incongruence between the form of the funtional core, the wooden mass and the glass envelope. The space between the core and the mass is for technical systems and structure, the space between the wooden mass and the glass envelope is where most of the life of the library unfolds.

URBAN SURFACE The majority of the library program is situated on continuous horizontal surfaces, which can be flexibly adapted for various programs and events through the use of furniture.

OPEN SPACE The entire roof of the wooden mass is an open library space with views of the surrounding

THE CORE, THE RAMPS AND THE INBETWEEN The ramped surfaces are furnished to enable a variety of library functions, the core houses vertical circulation and discreet programs, and the void (poche) between the two surfaces is occupied by technical systems and structure.

EFFICIENCY The organisation of the library is extremely efficient due to the elimination of corridors circulation space is library space.

STAGE FOR URBAN LIFE The library is connected to the urban space in many ways: It can be accessed on five points - on each of the four sides and down at the basement level. The landscape in front of the building towards west is pushed down to create direct acess the basement level, and in a counter move, lifted up to form an outdoor theater for events, and media displayed on the building facade.

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Atelier House

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Atelier House - A New Concept for Wooden Housing.

Private residence.

Built 2014 near Hvitträsk, Finland.

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A New Concept For Wooden Housing Within the Digital Paradigm.

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Each Atelier House is a unique version of the type, designed for its inhabitants. A community of Atelier Houses is collection of nuanced differences, rather than radical differences or monotonous repetition.

The Atelier House design strategy enables an evolution of the community over time, instead of the execution of a one time rigid plan, resulting in a richer, more layered collective in the manner of old villages.

The technologies embedded in each house can be networked in order to create a smart collective, which optimises waste management and energy consumption, and enhances the social sustainability and social life of the community.

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The Atelier House is digitally designed and manufactured building. Each house is a unique variation of the type, designed based on people’s dreams and needs.

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BEDROOM ENTRYROOM

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There are over forty variations on the design, which can be used as a point of departure when designing Your own unique house.

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Astana

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The Finnish pavilion at the Astana world expo 2017 tells story about Finland, a country, which is both technologically advanced and close to nature. It communicates a vision for the future where technology and nature are increasingly interdependent, and in harmony with one another.

The architecture transports the audience to the Finnish atmosphere of powerful contrasts.

The pavilion consists of five buildings and the space between them.

There is a strong contrast beween the white interstitial space and the warm interiors, which is supported by the careful use of sound and light.

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IN-WALL BOXES Boxes containing artworks and objects

ON-WALL BOXES Glass boxes attached on the wall, containing artworks and objects

IN-GROUND BOXES Boxes covered with a walkable glass surface, containing artworks and objects

The experience of the exhibition content is orchestrated in layers. The first layer is atmosphere, which sets the mood in which the content is received. The second layer is artworks, which provoke and seduce the audience with the aim of triggering their intellect, and initiating spontaneous exploration. The third layer is exhibition objects, such as technological devices or models. The fourth layer is digital. It consist of touch screens with 360 images and embedded links deeper into content related to specific topic. The layered orchestration is aimed at engaging the audience as active participants in the construction of the exhibition narratives, and offering possibilities of delving deeper and deeper into the subject matter of their individual interest.

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The atmosphere of the interstitial space is that of a Finnish landscape. Each of the four buildings has its own mood created by space, color, light and sound: Pure energy feels like a deep green forest, Smart City is a space filled with sunlight, Clean Water is a submarine experience. Excellent Education is full of life and color.

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Canberra

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The Finnish Embassy in Canberra, Australia, was designed by Kivi Sotamaa and Johan Bettum. It results from a synthesis of folded topologies, program and function in order to meet with an identified set of new general and specific conditions for nation-state diplomatic presence and representation.

The surface articulation of the site topology is continued in a corresponding articulation of the exoskeleton. This is divided locally into two-three strata. The different strata all comply to the folded topology but remain non-aligned with the folds and are respectively highly irregular and noncongruent in extents. In certain places a given area of the exoskeleton folds down to cover the ground beyond the building zone.

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Sodersol Roof House

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Sensations combined with criticality and responsibility can be used to trigger cultural change.

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Sodersol Guest House

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Sodersol Sauna

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Helsinki National Museum

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Tampere

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Appeal To Reason

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The Appeal to Reason -design transforms a monumental Soviet era post office building in the center of Tallinn into a public, democratic landscape with flexible and unpredictable uses. It changes the building from a symbol of power to a spectacle of urban culture. The affect is no longer heavy and hierarchical, but playful and expressive. The ‘underbelly’ of the building becomes an extensive urban square, the rooftop becomes a public park landscape, and the cavernous spaces in between lend themselves for a multiplicity of cultural events, planned and unplanned.

Instead of collage, conceptualism or ‘surgical’ operations, the design follows the logic of virus. It acts as a new entity growing over and through the old building, transforming and adapting both the building and itself in the process. It generates a new multiplicity, which challenges the difference between building and landscape, inside and outside, new and old, sculpture and architecture, and media and architecture.

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In addition to addressing site-specific issues, which arise from an intervention into a Soviet era post office building in Tallinn, the design takes part in global cultural and architectural discourses. The black line work which flows with, and against the new and old forms is neither two dimensional or three dimensional, abstract nor representational, but oscillates between the extremes, generating associations to Manga graphics, African animal patters, primitive art and stylized computer graphics, all kindred morphs of the same sensibility.

The use of form and pattern finds precedent for example in Abstract Expressionism, which had particular emphasis on spontaneously created patterns, which where believed to appeal directly to the subconscious.

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Kehla Cottage

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Under Her Wing

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Learning under the protecting wing.

The basic concept of the scheme is the protecting wing under which children gather to learn. The shape of the building is a covering roof, reminding of this wing.

Simultaneously the wing principle reminds of the branches of trees protecting ground below. The starting point in this natural manifestation of protection accentuates the location of the school in the new type of garden city and the location of the centre between the city and the forest hill.

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Kehla Stall

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Kehla Stall is a project for a countryside cultural center located in a historial stall building owned by a private family in Siuntio Finland. The first phase by Sotamaa consists of a holistic plan which includes conceptualisation, branding, communications. programming and preliminary architectural design

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Toolo Stadium

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The Open Arena project was designed by Kivi Sotamaa, Johan Bettum & Markus Holmsten and it is situated north of the Helsinki city centre on the axis of Steven Holl´s new art museum and Finlandia Hall by Alvar Alto.

The site serves as a wedge between the natural park landscape with the Olympic Stadium to the east and the residential urban fabric to the west.

The stadium raises the architectural fabric from the ground datum to leave behind an extensive space which has the capacity to accommodate a wide variety of functions and events and which absorbs contingent relations to the physical surroundings. Three layered and continuous topological surfaces are installed, which enable a free circulatory exchange between each other as well as with the existing surroundings.

The design for this project commences with the digital manipulation of a 2D graphic space, which is grafted onto the site and developed into a 3D spatial construct.

Numerical fields are derived from the graft that guide and control the deformation of the material surfaces of the project, while regulating flows of activities on the surfaces.

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Terra Cultura

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Terra Cultura - the Jyväskylä Music and Art Centre was designed in 1997 by Kivi Sotamaa and Johan Bettum and later further developed [2004] in a physical model for the Venice Biennale in collaboration with Michael Hensel. The design aimed at integrating the cultural and public programs of the project with each other and the urban setting of the town, Jyväskylä. In pursuit of this aim the project completed the historical grid and block structure of the site and extended the urban surface of the surroundings into the building as the main formal and programmatic element of the project. The urban surface was articulated as topographic ground within the site itself and extended vertically as a structural, folded wooden latticework and circulation ramps.

The structural latticework contained the concert hall and office/exhibition block in separate, floating volumes on the north-south diagonal of the site. Between these blocks the latticework and a circulation ramp rose to make a continuous sequence of gallery spaces within an undulating veil of modulated transparency.

The transition from urban to differentiated topological space made for a continuous and smooth differentiation of the building program. In this sense, the project aimed at achieving an extensive weaving of its formal and programmatic content with given the urban fabric of the town. The project was an attempt to create a fresh architectural context for producing and communicating culture from within an institution in an urban setting. While the urban surface of the surroundings was extended and internalised in the building, a counter movement was envisioned to take place with the activities of the centre that would flow back into the town of Jyväskylä.

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The music and arts centre open up underneath to welcome visitors, professionals, students, audiences and passer-bys to enjoy a planned or chance encounter with the activities of the centre. Throughout the passage from outside to inside there is a gradual transition between categorically different types of spaces. The transition from homogeneous urban to differentiated topological continues up the smooth ramps that penetrate the Liquid Flow Space. As the name indicates, this is where the outside urban condition becomes fully internalised and transformed into a space with free flow of light and movement. The topological ground itself is made from concrete and covered with laminar wood planks. It has a smooth color gradient going from asphalt color at the street side, via tones of grey and gold towards the middle, to silver and white ramps reaching the upper level of the Liquid Flow Space.

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Archipelago

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Estonian National Museum International Competition Entry by Kivi Sotamaa & Antti Ahlava Museum as a Record of the Phases of Estonian Culture Introduction to a cultural archipelago Archipelago One unique aspect of the fenno-ugric language groups and cultures is that rather than existing as a continuous mass; they are a group of settlements far from one another.

The Estonians are closely connected to the Finnish and Livonian cultures, but distant from some of their relatives such as the Hungarians, the Mordvi, the Mari, the Votics, the Komi, and especially the Mansi and Khanty cultures. This anthropological network that Estonia belongs to can be seen as an ARCHIPELAGO. Our museum has been conceived as an archipelago.

The “islands” are the exhibition spaces, surrounded by the “flood” of spaces surrounding them.

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Breeze

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Schematic design for a cultural building.

Commissioned by Design Museum Helsinki.

The building mass is used to generate exciting urban spaces, to integrate the city to the building, and in a counter move, the building to the city.

The building is organised around an atrium and a spiral walkway in the manner of Wright’s Guggenheim, and it is entered on two levels, from the nearby bridge and the ground level.

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Fog House

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Heat wooden sauna for a private client 2016.

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Narva

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A historical inquiry shows that successful models that explain formative processes based on an alternative understanding of type can be found in within other disciplines. In his Writings on Morphology [1817 - 1824] – the study of the deep structure of form – Johan Wolfgang von Goethe stated that two conditions must be addressed. The first is the condition of Gestalt, a snapshot of a eeting condition that is in continual formation. The later constitutes the second condition. If the type of a species is thus its Gestalt, it becomes clear that type is an inherently dynamic condition, in other words only one moment between many others in the formative process. Goethe stated thus that everything that has taken a form will immediately be transformed. Contemporary complexity theory takes the research into formative processes further into the study of diverse set of phenomena such as self-organisation and adaptation. The study of such behavioural pattern and phenomena have been used to model and explain conditions such as the formation of cities, and other examples of complex structures for which there is a need for entirely new paradigms and phenomenologies to describe their behavior

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Bus - Minibus - Pedestrian

Bus + Minibus + Pedestrian

Commercial - Culture

Education - Sport

Green Projection

Green - Densifcation

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Cultural

Cultural - Green

Densification - Diversicationa

Densification - Cultural

Industrial

Sport - Green - Commercial

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World Trade Center

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Landscraper

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The Landscraper Urban Ring Bridge across the river Rhine [Düsseldorf, Germany, 2000] was designed by Kivi Sotamaa & Michael Hensel in collabortion with Jeffrey Turko.

The design is based on the supposition that an inhabitable bridge on the required scale must seek to intensively engage the programmatic and demographic strata of the urban matrix, in order to sustain differential inner-urban life. The scheme consists of three elements. An outer urban ring links existing infrastructural routes in order to organize the traffic around and into the city center. An intermediate ring links existing programmatic and infrastructural locations and induces pedestrian flow via the deployment of public transportation along the perimeter of the expended city-center. An inner-urban ring bundles urban programs on a pedestrian scale, with maximum benefit of the proximity of the river.

The highly differentiated structure of the bridge serves as a cognitive element that enables orientation when moving through this very large and complex structure.

Comprising of an assemblage of structural and programmatic systems and flexible enclosures the bridge introduces a dynamic landmark to Düsseldorf that reflects the heterogeneous, dynamic and progressive culture of the city and its inner-urban infrastructural landscape.

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Asikkala

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- Credits

Credits Kissing Helsinki: Atelje Sotamaa: Kivi & Tuuli Sotamaa, Collaborators: Antti Ahlava and Fredrik Lindberg Design assistants: Simeon Brugger, Ashish Mohite, Olga Virtanen Ramos, Eero Alho Meteorite: Atelje Sotamaa: Kivi & Tuuli Sotamaa, Filippo Fabi, Irene Pace, Will Vandusen Heat: Atelje Sotamaa: Kivi & Tuuli Sotamaa Ultima Thule: Atelje Sotamaa: Kivi & Tuuli Sotamaa Collaborator: Antti Ahlava Design assistants: Anne Honkasalo, Gabriel Huerta, Tim Callan Atelier House: Atelje Sotamaa: Kivi & Tuuli Sotamaa Collaborator: Håkan Långstedt World Expo: Atelje Sotamaa: Kivi & Tuuli Sotamaa, Filippo Fabi Design assistants: Caterina Melidoni AV Design by Ville MJ Hyvönen Lighting by Digital Sputnik Hand painted art by Pan Jiafeng Interactive Game by Tuomo Tammenpää and Daniel Blackburn Canberra: Kivi Sotamaa & Johan Bettum, Lasse Wager, Vesa Oiva, Bonsak Schieldrop, Kim Baumann Larsen Roof House: Atelje Sotamaa: Kivi & Tuuli Sotamaa, Filippo Fabi, Irene Pace

Guest House: Atelje Sotamaa: Kivi & Tuuli Sotamaa, Filippo Fabi, Irene Pace, Pietro Barcaccia Design assistants: Francesco Uberti Sauna: Atelje Sotamaa: Kivi & Tuuli Sotamaa, Filippo Fabi, Irene Pace, Pietro Barcaccia, National Museum: Atelje Sotamaa: Kivi & Tuuli Sotamaa, Filippo Fabi, Irene Pace, Pietro Barcaccia, Design assistants: Francesco Uberti Tampere: Atelje Sotamaa: Kivi & Tuuli Sotamaa Collaborator: Antti Ahlava Appeal to Reason: Atelje Sotamaa: Kivi & Tuuli Sotamaa Design assistants: Chris Thackrey, Saara Koljonen, Ashish Mohite, Artur Staškevitš Kehla Cottage: Atelje Sotamaa: Kivi & Tuuli Sotamaa, Irene Pace Under Her Wing: Kivi Sotamaa, Gabriel Esquivel & Antti Ahlava Kehla Stall: Atelje Sotamaa: Kivi & Tuuli Sotamaa, Design assistants: Joseph Koon, Alice Deschilder, Federica Sabadini Open Arena: Kivi Sotamaa & Johan Bettum, Lasse Wager, Vesa Oiva, Bonsak Schieldrop, Kim Baumann Larsen Terra Cultura:

Kivi Sotamaa & Johan Bettum Archipelago: Kivi Sotamaa & Antti Ahlava Breeze: Atelje Sotamaa: Kivi & Tuuli Sotamaa Fog House: Atelje Sotamaa: Kivi & Tuuli Sotamaa, Pietro Barcaccia, Irene Pace, Filippo Fabi Design assistant: Stephanie Maddamma, Marta Miñarro Narva: Kivi Sotamaa & Michael Hensel Design Assistant: David Vincent World Trade Center: Atelje Sotamaa: Kivi & Tuuli Sotamaa Landscraper: Kivi Sotamaa & Michael Hensel in collabortion with Jeffrey Turko Asikkala: Atelje Sotamaa: Kivi & Tuuli Sotamaa, Filippo Fabi, Pietro Barcaccia Kuopio: Atelje Sotamaa: Kivi & Tuuli Sotamaa, Filippo Fabi, Collaborator: Antti Ahlava Design assistant: Selin Sevim, Ovidiu Alecsandru Vortex: Kivi Sotamaa in collaboration with Gabriel Esquivel Vaahtoranta: Atelje Sotamaa: Kivi & Tuuli Sotamaa

In order to execute work across scale and media we work with state of the art collaborators.

Audio visual design, Ville Hyvönen, Helicam Aero Lighting design, Håkan Långstedt, SAAS Instruments Strategy & editorial content, Jaakko Tapaninen, Great Point Building engineering, Ahti Rantonen, Vahanen Group Glass construction, Timo Saukko, Finnglass Glass technology, Jorma Vitkala, GDB Wood construction, Wilhelm Polster, Stora Enso Urban design, Antti Ahlava, HZ Historical preservation, Panu Lehtovuori, Livady Sound & music, Tuomas Kantelinen Acoustics, Juha Ström, Akukon Cinematic lighting, Kaspar Kaas, Digital Sputnik Interactive design, Tuomo Tammenpää, Daniel Blackburn, Startle Oy Sensors and programming, Taavi Warm, Warm Stuudio Graphic art, Pan Jiafeng, SH Type Artwork fabrication, Viktor Krogius Metalworks, Jukka Merta, Selki-Asema Glassworks, Kaappo Lähdesmäki, Lasismi Carpentry, Tommi Alatalo, Fiskarsin puusepät CNC milling, Marcus Lill, Scan Mould Furniture manufacturing, Stefan Mahlberg

Selected Clients

Selected Exhibitions

IVA The Royal Swedish Academy of Engineering, Fazer, Finnjävel, Muru Dining , Cafe Aalto, Hanaholmen Swedish Finnish Cultural Center, Finnish Sommelier Association, Grand Champagne, Finpro, Academic Bookstore , Stockmann, Aalto University, ADD Aalto Digital Design Laboratory, The Design Museum Helsinki, The Barbican Center, Fondazione Trussardi, 21 st Century Museum for Contemporary Art, Wexner Center for the Arts, Marimekko, Art and Design City Arabianranta, Shanghai Museum of Contemporary Art, Kiasma Museum of Contemporary Art.

Museum of Modern Art MoMA New York, The Venice Architecture Biennale, The Venice Art Biennale, Vitra Design Museum, Chicago Art Institute, Fondazione Nicola Trussardi, He Xiangning Art Museum, Kiasma, Henie Onstad Art Centre, Center for Architecture NY, 21st Century Museum of Contemporary Art Kanazawa, San Jose Museum of Contemporary Art, Busan Biennale, Steirischer Herbst, National Building Museum Washington DC, Wexner Centre for Arts, Architecturverein Tirol, Forum Kultur und Wissenschaft Germany, American Museum of Natural History, Architectural Association, Henie Onstad Art Center, Artist Space NY, XIII Bienal de Santiago de Chile.

Selected Publications

Ateljé Sotamaa

The New York Times, The London Times, Phaidon 10X10 Architects 1, Phaidon 10X10 Architects 2, International Design Yearbook, The Interview Magazine Ottagono, Domus, Interni, CA Press, PRAXIS 6, PEN Japan, AD Architectural Design, New Scandinavian Design, 40/40 Finnish Architects, Forum, L’ARCA, Hybrid Space, Blueprint, AA Files, Kauppalehti, Helsingin Sanomat, Muoto, Finnish Design Yearbook, LOG 13, Wood With A Difference catalogue, All Design Magazine, Pro Interior, Nexus Architecture and Mathematics, Innovation, Developing Digital Architecture, The Fashion of Architecture, Tank, Kenchiku Bunka, Archis.

Väinämöisenkatu 19 A 3 00100 Helsinki Finland www.ateljesotamaa.net