Ateljé Sotamaa Exhibition Architecture - Designing Human Experiences

Ateljé Sotamaa

Designing Human Experiences

VOL04 EXHIBITION ARCHITECTURE

Exhibition Architecture

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 Introduction World Expo 2017 Fazer Visitor Centre 2016 MoCA Shanghai 2012 Wexner Centre 2006 Steirisc Herbst 2001 Kiasma 2001 The Barbican Centre 1997 Habitare 2011, 1997, 1996

6 8 - 35 36 - 65 66 - 77 78 - 83 84 - 89 90 - 105 106 - 109 110 - 117

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.

This publication features a selection of exhibition architectures we have designed over the years, starting with the Habitare pavillion in 1996 and ending with the World Expo in 2017.

We have always enjoyed the design of exhibitions because they offer an opportunity for creating dramatically unfolding experiences and telling stories through architecture. Exhibitions have given us an opportunity to design environments holistically across scale and media.

In many cases we have acted not only as the architects but also as the curators of the exhibition. Sometimes we have been participant artists. In nearly all of the exhibitions we have orchestrated not only the architecture, but the design of all of the constituent elements, such as interactive media, sound, light and graphics.

Exhibition Architecture

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Finland’s World Expo Pavillion Astana Kazakhstan, 2017

Exhibition Architecture

Finnish World Expo Pavillion We had the rare opportunity to design the architecture and curate the exhibition for the Finnish Pavilion at the 2017 World Expo in Astana. Our design won the gold medal and had close to 300 000 visitors, which exceeded the expected number by 100 000 visitors.

The pavilion was also selected when foreign journalists named the best pavilions EXPO. More than 115 countries participated in this year’s world expo, including the USA, China, and Russia, as well as 22 international organizations, including the UN and the International Atomic Energy Agency.

The Finnish pavilion at the Astana World Expo 2017 tells a 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 pavilion is not only an exhibit of sustainable technologies but it is built sustainably from wood using cutting edge design and manufacturing technologies.

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Exhibition Architecture

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Architecture 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 between the white interstitial space and the warm interiors, which is supported by the careful use of sound and light.

Both the architecture and exhibition of the Finnish Pavilion in Astana World Expo are designed by the same author. AteljÊ Sotamaa has worked to make the pavilion a total work of art where architecture and exhibition content are intricately intertwined. The aim of the holistic design method is to create a powerful, emotional experience, which sparks people’s curiosity.

The design oscillates between the digital and the natural in terms of its making and its formal sensibility. The forms are on one hand mathematical and digitally designed, on the other hand they seem natural, evoking associations to boulders, icebergs, canyons.

Exhibition Architecture

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Layering 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 consists 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.

Exhibition Architecture

Atmosphere 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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Exhibition Architecture

“It was a great pleasure to work with Ateljé Sotamaa during Astana Expo 2017. They created the Finnish pavilion architecture and exhibition concept under the theme Future Energy/Pure Energy.

Both Tuuli and Kivi have an excellent ability to work with an abundance of ideas, translating a range of possibilities into one concrete reality, with a true

sense of creativity and innovative touch. Their vision is solid and still full of finesse.

Our project was realized in a very tight timeframe.

Ateljé Sotamaa were able to adjust to the demanding project in a very flexible manner.

They committed to the project with their whole heart - and when needed, also worked closely together with the project team on the ground.”

Annikka Alanko, Pavilion Director Finland at Astana Expo 2017

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Touch The pavilion delivers experiences to all of the senses. Touching exhibits and materials as well as sitting and spending time in the architecture is a crucial part of the overall experience of the Finnish pavilion.

Sound The sound in the pavilion is best described as a digital sound sculpture made from natural materials by Ville MJ Hyvรถnen. It is built from digitally manipulated recordings of traditional vocal and instrumental artists and sounds from nature. Each of the pavilion spaces has its own soundscape, which sets the mood in which the visual content is experienced.

Exhibition Architecture

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Light The lighting of the interstitial space in the pavilion is designed to simulate the famous cool, low level Nordic light. It is set in contrast with the warm tones found in the interior of each of the five buildings.

The lighting goes through all of the four seasons within a 12-minute period. The Finnish pavilion is one of the first times when sophisticated film-set lights are used for architectural lighting. The advanced lights were used for the creation of nuanced, sophisticated and subliminal lighting effects by manipulating the color, intensity and direction of light in a very precise manner.

Exhibition Architecture

The Exhibition The exhibition, which is integrated into the architecture, is a narrative about Finland’s holistic approach towards problem solving and future building.

There are five buildings, four of which contain narratives about energy and the Finnish society. The fifth one contains a bar with Finnish drinks. The 5 buildings are: Pure Energy; Smart City; Clean Water; Excellent Education, and Koskenkorva Bar.

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'We had the rare opportunity to design the

architecture and curate the exhibition for the Finnish Pavilion at the 2017 World Expo in Astana. We won the gold medal in our category on September 10.

We’ve had close to 300 000 visitors, which exceeded the expected number by 100 000 visitors and the

pavilion was selected when foreign journalists named the best pavilions EXPO'.

Design Forum Finland blog 28.9.2017

Exhibition Architecture

BUILDING 02 _ PURE ENERGY ÄÄNIMAAILMA Linnun laulua ja metsän ambienssia äänenä. Kaukaisia ukkosen murahduksia, männyt humisee, välillä linnut laulaa TUNNELMA Vihreä, metsäinen, pehmeä, luonto.

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STATE OF ENERGY -videoinstallaatio 5 x ipad pro äänisuihkut yläpuolella -Neste (biopolttoaine, kinkunrasva) -Fortum (isot voimalat & aurinkoenergia) -Wärtsilä (Diesel) -Helen (Maanalainen vesi) -Metso (Venttiilit) -Pöyry (Insinöörisuunnittelu) -Vexve (Venttiilit) -Valmet (Arinapoltto) -Oilon (Polttimot) -Outotec (Leijupetipoltto)

TITLE ipad pro -360 kuva rakennuksesta, videoita jne.

Honkarakenne

TITLE -pienoismalli -sahanpurua Honkarakenne

TITLE -VR-kiikarit mäntymestsään Metsä Forest

TITLE Aukossa auringonvalon efekti -akku -aurinkopaneeli -reppu Tespak

TITLE -poltin aukossa Oilon

TITLE ipad pro Wello

WELLO 4900

OILON

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HONKARAKEN-

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HONKARAKENNE -Hirsitoteemi - Mäntyöljypussukoita

TECHNICAL INFO

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2268

2701

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- Tikkurila Design Floor green (color code to be specified)

STATE OF

HONKARAKEN-

CLEAN WATER (BUILDING 03) The Clean Water Building communicates Finland’s holistic approach to providing clean water for all people. The narrative is built as a circle, which is organised around three topics; Raw Water, Use of Water and Waste Water.

(Waste water, when treated, becomes Raw Water again).

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Education

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Technology

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Authoroties

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WATER CIRCLE 3ipad (Thinglink) -Loimaan jätevedenpuhdistamo Econet

WATER CIRCLE 1 Raw Water 2 x ipad (Thinglink) -yritysten kuvia, videoita

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Use of Water

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WATER CIRCLE Diagrammi rakennuksen seinässä

Waste water

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Raw Water

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Planning

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WATER CIRCLE 2 & 3 Use of Water & Waste Water 4 x ipad (Thinglink) -yritysten kuvia, videoita

WASTE WATER Taustavalaistu valokuva jäteveden käsittelystä Kemira

RAW WATER Taustavalaistu valokuva öljyntorjunnasta Lamor

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Legistlation

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USE OF WATER Taustavalaistu valokuva kahdesta lapsesta juomassa hanavet

USE OF WATER -EconetSmartWater -laite -ipad informaatio (stand alone) -astianpesukone -vessa -hana -pesukone -suihku Econet

USE OF WATER ipad & Thinglink Live link to Allas Seapool Helsinki

Water Circle 1 2 3

Raw Water Use of Water Waste Water & Sludge Handling

2 x 360 degree images of Raw Water with embbed links.

The 360 images are provided

2 x 360 degree images of Use of Water with embbed links.

The 360 images are provided by the exhibition designers

3 x 360 degree images of Waste Water & Sludge Handling with embbed links.

by the exhibition designers - Companies will provide images or videos related to the theme, which will be

- Companies will provide images or videos related to the theme, which will be

- Companies will provide images or videos related to the theme, which will be

images / videos - Content examples: * SYKE Raw Water Story video

about 15 embedded images / videos - Content examples: *

about 15 embedded images / videos - Content examples: *Kemira Water Journey video

embedded in the 360 image using ThingLink application - Each 360 image can contain about 15 embedded

embedded in the 360 image using ThingLink application - Each 360 image can contain

DRINKING WATER - kaksi lasta juomassa hanavettä

RAW WATER -öljyntorjunta

The 360 images are provided by the exhibition designers

WASTE WATER -jäteveden käsittely

embedded in the 360 image using ThingLink application - Each 360 image can contain

USE OF WATER -EconetSmartWater -laite (vedenkulutuksen mittauslaite: astianpesukone, vessa, hana, pesukone, suihku) - ipad

4590

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SMART CITY OULU (BUILDING 01) Oranssi tila, kuin auringon sisällä ”Kaatopaikka” lattia-aukossa Seinäaukoissa ja vitriineissä energiantuotantoon ja jakeluun liittyviä ratkaisuja

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SMART CITY

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BURNER -Energianpoltto, kiertopeti -3D ajelu ipad Valmet

TRANSPORTER - kuljetin BHM

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ELECTRICITY SUPPLY -Antin Askeleet + valokuva -Kaapeli Helen

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WASTE TO HEAT RAW MATERIAL -murskaa Tyrannosaurus

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WASTE TO ENERGY -jätettä -waste-to-energy Outotec

SOLAR ENERGY Lämmöinvaihdin ja diagrammi ipad Polarsol TARVITSEE SÄHKÖN (tuodaan lämmönvaihtimen takaa)

VEXVE

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TECHNICAL INFO

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POLARSOL solar energy

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EXCELLENT EDUCATION (BUILDING 04)

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FUTURE OF ENERGY EDUCATION Video installation of children’s interviews

SCHOOL DESIGN Magnetic school furniture ISKU

HOLISTIC EDUCATION Free school lunches

ANGRY BIRDS

UNIVERSITY ipad

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PHENOMENA BASED LEARNING Maarit Rossi interview

PROFESSIONAL EDUCATION - 4 Ipad - Text and drawings

PROFESSIONAL EDUCATION ”What do you want to be when you grow up?”-wall AMK schools

MATH CUBE GAME Different ways of unfolding cubes

SCHOOL DESIGN - Mukula stools

INTERACTIVE GAME Phenomena based learning

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CONTENT / THEMES

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- Learning by Playing / Game - Maarit Rossi video Kartanonranta (ipad) - Uusi opetussuunnitelma - Ilmainen kouluruoka - Terveydenhoito (Tuula Kuha) - Ulkoilu/välkkä (Tulee esiin Sakarinmäen koulusta tehtävissä videoissa) - Erityisopetus, opettajan koulutus (Jari Lavonen kehittää) ja täydennyskoulutus, lastensuojelu, - Ilmiöpohjainen oppiminen (tulee esiin peleissä) - Hundred - Jaana Lindfors lasten haastatteluja

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Exhibition Architecture

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The Space Inbetween In between the buildings are exhibits which communicate fundamental values of Finnish society such as the maternal care package, which every mother gets for free when their new baby is born.

Exhibition Architecture

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Exhibition Architecture

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Making the Pavilion The Finnish pavilion is a research project into sustainable wood construction in the digital age. Central to the philosophy of the Finnish pavilion is that everything about it should address the expo theme and consist of authentic content. The Finnish pavilion structure was used as an opportunity for research and development of digitally designed and fabricated, sustainable wood construction.

Exhibition Architecture

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When combined with digital design and manufacturing techniques, wood is architecturally one of the most exciting materials to work with today. The five buildings which make up the Finnish pavilion were digitally designed in a collaboration between the architects and engineers. When the model was completed, the manufacturing documents where sent directly to Stora Enso factory.

The pavilion was made of over 300 unique 100mm thick Cross Laminated Timber elements, which were prefabricated by Stora Enso and shipped to Kazakhstan.

The prefabricated CLT elements were assembled on site with the help of digital 3D documentation, drawings and a physical scale model. The assembly took 3 days per building, on average. Advanced digital design and fabrication methods made possible the economical realisation of a unique, bespoke architectural design within an extremely tight timetable and a challenging location.

Exhibition Architecture

Cut files for all of the CLT wood elements, which made up the five buildings of the Finnish Pavillion.

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Exhibition Architecture

38 38

Fazer Experience Visitor Centre, 2016 Fazer opened an internationally noteworthy Visitor Centre on October 1st 2016. It is aimed at offering experiences for all the senses and is a first of its kind in Finland. We had the pleasure of designing many of those experiences.

The exhibition with its artworks, the shop, signage, clothing and even select tableware were designed by AteljĂŠ Sotamaa. Every aspect with an impact on the visitor experience was created exclusively for Fazer. The aim was to create a total work of art and seamless visitor experience within the K2S designed building.

Exhibition Architecture

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The Concept The concept for the design of the exhibition is based on Aristoteles’ peripatetic school of philosophy where people walked and discussed the world through the objects they encountered. In the case of Fazer Visitor Centre, professional guides move through the building with people and use the artworks for story telling.

The experience is based on powerful stories.

We undertook the work by interviewing over 60 Fazer employees from management to production, from members of Fazer family to bakers, working at Fazer’s locations from Lahti to St. Petersburg. The interviews uncovered a treasure trove of stories and knowledge related to Fazer, which serve as the basis for the works in the visitor centre.

Dozens of professionals, masters in their respective fields, have produced the artwork – from glassblower to coder and carpenter to composer

Exhibition Architecture

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Exhibition Architecture

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Wunderbox is a large cabinet filled with Fazer’s historical treasures. Inside the cabinet there is a black room, a Wunderkammer, where original graphics from Fazer’s history are displayed.

Exhibition Architecture

“I had a privilege to work with Ateljé Sotamaa during the creation the of Fazer Experience Visitor Centre. The process was long and could not have been as successful as it was without Tuuli and Kivi Sotamaa’s excellent project management skills and way of working together with us. I especially valued their ability to express their views and translate them into concrete plans and steps.

They also have very constructive approach to problem solving. Their creativity brought our stories alive and has delighted over 300 000 visitors after the centre was opened 1.10.2016.”

Liisa Eerola, Director,

Confectionery Communications & Group Partnerships, Fazer.

The foxes at the Visitor Centre are inspired by the oldest candy Fazer is still selling, Pihlaja, which features a red graphic of a fox.

46 46

Exhibition Architecture

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The Mignon Bunny is a sculpture made with 10 000 real eggs.

Exhibition Architecture Fazer Blue is a sculpture inspired by the golden

signature of Karl Fazer on the blue package of the company’s most famous product. The sculpture

holds a number of small 3D printed objects, which collectively tell the story of Fazer Blue and of making chocolate.

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'Our new visitor centre is an experience for all

the senses and a first of its kind in Finland. It is a

considerable investment in Finnish design and work.

We are very proud of the fact that we have been able

to include so many top talents and, together, created something unique.'

President and CEO of the Fazer Group Christoph Vitzthum.

Fazer is Finland's most valuable brand.

The Fazer Visitor Centre was visited by over 200 000 people during its first year.

Exhibition Architecture

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Exhibition Architecture

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The Food Buddy helps people learn about healthy, balanced diet through play. Each visitor can create their ideal tray of food by using wooden pieces

with engraved symbols. The tray is then offered for

analysis and feedback for a Food Buddy. There are three buddies; a man, woman and a child.

Exhibition Architecture

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Chocolate factory is a 3D printed replica of the Fazer Blue production line. The functioning of the machine parts and movement of products is projected on the miniature factory with two video projectors.

Exhibition Architecture

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Fazer candy forest is a world of plenty, which

encourages play and movement as methods for learning. It contains a plexiglass trees filled with

candy and a cascade of plenty, glass bubbles filled with sweets, free for everyone to enjoy.

Exhibition Architecture

60 60

Peek a Ball is a custom designed viewing interface of 360 video for large crowds. At Fazer people can peek into three production lines; Fazerin Sininen, Domino, Vaalea Reissumies and Xylimax.

Exhibition Architecture

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From the Field to the Table - installations tells the story of bread using multiple media; samples of

grains, a video projection, a functioning mill and an interactive game for braiding dough.

Exhibition Architecture

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Exhibition Architecture

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Design Colors Life

Museum of Contemporary Art Shanghai, 2012

Exhibition Architecture

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Design Colors Life

Museum of Contemporary Art, Shanghai October 26 - December 7, 2012 Design Colours Life was both curated and designed by AteljĂŠ Sotamaa.

It offers a glimpse into Finland. It is a moment in life, when design journeys from the everyday to the festive, from modes of transport to building facades, from lighting to clothing.

The exhibition is not a definitive account of Finnish design, past and present, but rather an illustrative selection of designers, companies, objects and products. Together they provide a unique perspective on Finnish culture and the role of design in life. On display are the works of legendary designers from the past, of both new and more established companies, and of younger designers who are constantly developing the field towards new directions.

The designers and companies taking part in the exhibition share the same desire to develop and innovate. Not only are they comfortable in the global environment, they are also receptive to new ideas and practices.

This combination of curiosity and willingness to reach higher has helped make Finland and Finnish design unique.

Exhibition Architecture

‘The exhibition will paint an exciting landscape of Finnish Design and portrays a set of insightful designers from the past to the present era. Visitors will experience how design is embedded in the daily life of people in Finland. The exhibition shows how the aesthetic language of Finnish Design increases beauty of the world around us.

Good design is the luxury of everyday life,’ says Tuuli Sotamaa, Curator of the exhibition.

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The Exhibition The exhibition architecture for Design Colors Life is based on creative use images. The images are displayed on large fabric screens, which organise the exhibition space, and on underlighted glass tables which carry the exhibits. The images are taken of Finnish designers and their designs during one late summer day in Helsinki and they work on multiple levels: The images organise the space, create the atmosphere of the exhibition, provide a snapshot of a day of life in Finland, show the faces of the designers behind the exhibits, and most importantly, display the exhibition objects in the context of everyday use, as a part of Finnish lifestyle.

Exhibition Architecture

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Exhibition Architecture

The design exhibits were displayed on glass

tables with printed images, which displayed the

exhibits in practical, everyday use. The translucent spatial dividers have images from a single summer afternoon, which the designers of the exhibited objects spent together.

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Exhibition Architecture

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Exhibition Architecture

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Extreme Textiles

Wexner Center for the Arts, 2006

Exhibition Architecture

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Extreme Textiles Wexner Center for the Arts, 2006 Extreme Textiles is and exhibition design for the Wexner Center for the Arts. The exhibition design amplified the existing architecture of Peter Eisenman’s Wexner Center by adding columns and thickening existing walls.

The amplification process created niches for the 600 or so exhibition objects and dramatized the atmospheric differences latent in Eisenman’s design: The dense column grid of the second gallery was made denser, the dark space on its edge was made darker, the high space at the end of the ramp was occupied by exhibits defying gravity and enhancing a sensation of lightness.

The exhibition design played on and with Eisenman’s architecture, manipulating it in a manner which made it impossible to distinguish that which was added from the original. The transformation of the gallery was dramatic, yet there was hardly any conceivable exhibition architecture.

Atelier House interior.

Private residence.

Built 2014 near Hvitträsk, Finland.

Exhibition Architecture

- Sensation

Exciting architecture creates stages for a good life.

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Exhibition Architecture

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Latent Utopias

Steirisc Herbst, 2002

Exhibition Architecture

LATENT UTOPIAS - Experiments within Contemporary Architecture, Curated by Zaha Hadid & Patrik Schumacher.

Latent Utopias focused on experiments with radically new concepts of space that are proliferating on the back of the new electronic design media available today. This proliferation of possibilities requires the profession to “play” and experiment.

In this respect the mode of production of the architect is assimilated to artistic processes.

The final purpose, meaning and fulfilment of these experiments lies beyond the scope of the architect/designer and requires the creative appropriation through its audiences.

The works presented by the various architects/ designers at Latent Utopias, including Ateljé Sotamaa (Ocean North) therefore aimed for engaging/interactive forms of installation, and construct experiences rather than merely delivering information.

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Exhibition Architecture

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Exhibition Architecture

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ARS 01 Unfolding Perspectives Kiasma Museum of Contemporary Art, 2001

Exhibition Architecture

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ARS 01 -

Unfolding Perspectives Kiasma Museum of Contemporary Art, 2001 The exhibition design for ARS 01 synthesises the character of the location -Kiasma, an architecture that articulates space by folding upon itself -with the concept for the exhibition itself -an unfolding of multiplitious, perspectives, artworks, contexts, influences and new ways of experiencing art.

The exhibition architecture takes literal the central aim of the exhibition to provide for new ways of viewing and experiencing art -beyond the potential of the artwork itself -towards a new relation between art and its hosting environment. Through a double movement of enfolding and peeling of material surfaces the space of Kiasma is intensified and the artworks are embraced by surfaces. This offers a less disruptive strategy than framing artworks which commonly results in a disjunction between artwork and exhibition space.

The primary role of the exhibition architectures is to mediate between the Kiasma building and the artworks, to create a dynamically intermeshed set of relations between both. Less manipulated areas, in which the architecture is hardly visible, change gradually into moments were architecture takes on more active roles, for example as furniture landscapes that services audiences viewing work, and highly articulated moments in the circulation spaces, were the architecture becomes an ambiguous mediation between the sculptural and the architectural.

Exhibition Architecture

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The architecture is a continuous weft between the building, the visitor and the artwork. It smoothly moves between different roles -that of the mediator, background, furniture or artwork itself.

The exhibition architecture lays-out and makes possible numerous routes through the exhibition in spite of the linear organisation of the Kiasma building.

In doing so the exhibition architecture enables multiple exiting perspectives and juxtapositions of the artworks.

Exhibition Architecture

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Scale models and computer models of

the existing building with the exhibition architecture, and all of the artworks.

Exhibition Architecture

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ARS 01 exhibitions plans for the entire Kiamsa building.

Exhibition Architecture

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Life at AteljĂŠ Sotamaa

Exhibition Architecture

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- Sensation

Exhibition Architecture Kiasma Magazine 13 – 2001, Vol 04 Third space in Kiasma For Kivi Sotamaa, designer of the exhibition architecture of ARS 01, the third space can be found in the unpredictability of multi-cultural metropolises, in the evolving contemporary reality, or in biological organisms.

Third space, the theme of the ARS 01 exhibition, is not a new thing for Kivi Sotamaa, who designed the exhibition’s architecture (with Tuuli Sotamaa). In fact, his thinking and works have revolved around the subject for a long time. Sotamaa sees the third space as being linked, above all, with the contemporary reality of multi-cultural cities and their unpredictability. “Life in big cities is characterised by changing reality and unpredictability. It’s difficult to predict anything, especially the economy, more than a couple of years in advance. One just has to learn to live with reality. At the same time, reality is rich and complex, it contains the potential for several interpretations.”

According to Sotamaa, major urban conglomerations are a prime example of the concept of hybrid used in connection with ARS 01. The character of cities does not rest on culturally specific features, but on the distinguishing marks of global metropolises.

ARS 01 is an exceptional exhibition for Kiasma in that, for the first time, the entire building is filled with one single exhibition, and the borders between the various spaces are blurred. In order to emphasise this special feature, it was decided that the exhibition architecture must have an exceptionally robust role. However, the architecture of the exhibition must not conflict with that of the building itself, says Sotamaa, it is rather a web of structures that functions within the scale set by the Kiasma building. Sotamaa’s 104 104

aim was to blur the borders between the various galleries and reinforce Steven Holl’s idea of a flowing space. “Often exhibition architecture merely provides a frame for the works. We have consciously sought to depart from such a collage-like approach. The main goal was to create natural paths and to strengthen the flow of visitors with abstract directions.” Sotamaa’s point of departure was, nevertheless, different from that of Steven Holl, who designed Kiasma. Instead of Holl’s phenomenological approach, Sotamaa wanted to give visitors an active role, an opportunity for multiple interpretations. “The abstract level – natural scenery, form, colour, material, light… does not contain culturally specific clues, but allows meanings to be formed through the interaction between people and the material environment.”

One of the greatest challenges of the architectural design of ARS 01 was, for Sotamaa, the creation of a harmonic whole with artworks by 73 artists. His solution was to give up the idea of a modernistic grid and the consciously conflicting presentations of postmodernism. Instead, he compares the architecture of the exhibition to a biological organism, which changes gradually when one moves from one space to the next. All works have their own space, yet they are in contact with each other. In some places, the architecture is prominent, in others it retreats into the walls of the museum, as it were. “The work actually began by defining the approach: the role of architecture in this exhibition is exceptional. Another distinguishing feature of the architecture is the thematic grouping of the works. The third, of course, is Kiasma itself.” Sotamaa has worked in Kiasma before, but this time it took a considerably longer time to go through the artistic material of the exhibition.

“The artists had already been chosen when the design work began, but some of the works had not. Some of them were made specifically for this exhibition, so naturally there was no material available on them. This meant that we had to familiarise ourselves with the entire oeuvre of the artists and their distinctive characteristics.” One important milestone in practical design work was the completion of scale models for each floor. The models allowed everyone to explore alternative hangings and to modify and discuss spatial solutions. “The architecture and the hanging were developed together with the builders, as well as the curators. We never had to resort to compromises or last-minute alterations, because all parties could already effectively influence planning in its earliest phases.”

Architecture is not the only thing linking Kivi Sotamaa with ARS 01. Sotamaa and Markus Holmstén’s Extraterrain from 1995 is one of the works featured in the exhibition.

Extraterrain is at least a design object, a seat, an architectonic sculpture, a utility article, and a topology inviting interaction, all at the same time. “I don’t think the roles of exhibition designer and artist are in conflict.

For me, the role was a natural one, and I believe that it even served to dispel the kind of conflictual opposition which sometimes can arise.” Although Extraterrain is an old work, it, nevertheless, contains in a condensed form Sotamaa’s ideas about the third space, in which form does not dictate use. The “spirit” of Extraterrain is illustrated by Sotamaa’s idea of the designer as a choreographer and of form as an adventure. “The art community is one context in which my work fits quite well. We have no corresponding experimental field in architecture in Finland. On the other hand, the work of many artists is based on architecture and the convergence between these two fields.”

PIIA LAITA

Exhibition Architecture

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Valo

Barbican Centre, 1997

Exhibition Architecture

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Valo

Barbican Centre, 1997 Valo Festival of Finnish culture consisted of a multitude of events and installations throughout the Barbican building. The installations ranged from multimedia to textiles and the events ranged from Sibelius concerts to Finnish tango.

The exhibition architecture consisted of spatial structures Surfscapes, lighting installations, stands and cases, graphic elements, artworks and events.

Surfscapes were the instruments for blending together the disparate elements of the Festival into a continuous mixture. They were large folded surfaces that created a sequence of spaces throughout the Barbican foyers, galleries and outdoor spaces as well.

The Surfscapes constituted a continuous landscape where the different elements are freely distributed. The heterogeneous mixture of freely distributed elements delivered a highly varied range of spatial experiences as people flowed through the exhibitions.

Every Londoner loves to hate the Barbican. But

imagine what might have happened had a Finnish

architect been at the helm in 1972. Just imagine...

and see a tiny glimpse of it come true as a six week

celebration of Finnish culture opens at the Barbican, and its spaces - from lake through to

foyers, halls and galleries - become temporalily

transformed by the work of the 26-year-old Kivi

Sotamaa and Markus Holmsten, two of Finlands youngest and most revolutionary architects.

Hilary Finch _ Out of the forest and into the Barbican _ The Times 19.11.1997

Exhibition Architecture

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Habitare Pavilions 2011, 1997 & 1996

Exhibition Architecture

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Habitare Pavillion 2011 The exhibition architecture for the Ahead! design area at the Habitare furniture fair takes on the clichĂŠs of exposition architecture - relentless uncoordinated competition for attention, and the dark casino-like atmosphere.

It uses naturally fluctuating day light and white glowing surfaces, which veil individual exhibition stands, to create changing atmospheres, intrigue and drama as well as visual calm.

The Marimekko Foorum at the heart of the Ahead! area is the monumental, sculptural, public space of the fair. Its aim is to create a spectacular atmosphere for conversation on the role of design and architecture in our everyday lives.

The Ahead! exhibition architecture is ultra light in terms of its materials - fabric and aluminium. All of its structural aluminium components will be reused in the future in other contexts.

Exhibition Architecture

Habitare Pavillion 1997 The Habitare 97 installation explored the production of a rich spatial and visual experience through innovative configuration of the constituent elements of the exhibition and use of lighting coupled with effect producing synthetic materials.

The installation is based on a loose organization of free-floating elements that is presented as an alternative to the normative orthogonal and grounded organizations conventionally employed for design constructs. The different architectural elements are organized according to an imaginary flow through space. Each element is different yet concurrent to the others; together they form a continuous mixture that is freely distributed in space.

The continuously shifting relationship between the constituent systems of the installation - people, transparent suspended surfaces, two landscaped ground surfaces, the exhibits, lighting and graphics – produce a rich spatial experience and give people an unusual point of view to the exhibits themselves.

The suspended architectural elements are made of a steel tubular frame that is sheathed with layers of plastic film and the grounded elements are made of veneer with a matte black finish. The use of varying thicknesses of transparent film together with lighting fixtures that mingle over and under the elements, and the movement of the plastic surfaces caused by airflow in the space produced a complex set of “oceanic� visual effects against which the opaque objects stood out.

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Exhibition Architecture

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Habitare Pavillion 1996 Habitare 96 was a young designers´ competition finalists´pavillion - an exhibition of prototypes by eight competition finalists´at the Finnish Fair Centre in Helsinki The spatial experience of the pavillion is to exit the quotidian into the extraordinary via innovative deployment of familiar materials issuing manifold visual effects.

An obliquely suspended black oceanoid buoyantly marks the entry to the exhibition and organises the circulation in the space.

The thinness of the oceanoid emphasises 2D surface over volume. Sheathed with thin plastic and constructed of an aluminium frame, oceanic effects are triggered by the interaction of mechanical ventilation and lighting on the surface of the oceanoid.

Visitors enter the exhibition space under the oceanoid. Surfaces of the exhibition space are covered with aluminium foil. Reflections and diffusions of light render the perception of actual shape and size indefinite. An ambient submarinespace heightens the opacity of the prototypes.

Exhibition Architecture

Credits World Expo 2017: Atelje Sotamaa: Kivi & Tuuli Sotamaa, Filippo Fabi AV Design by Ville MJ Hyvönen Lighting by Digital Sputnik Hand painted art by Pan Jiafeng Interactive Game by Tuomo Tammenpää and Daniel Blackburn Future of Energy interviews by Jaakko Tapaninen Future of Energy Education interviews by Reetta Räty Engineering by Vahanen Group Fazer Visitor Centre 2016: Atelje Sotamaa: Kivi & Tuuli Sotamaa, Filippo Fabi, Pietro Barcaccia AV Design by Ville MJ Hyvönen MoCA Shanghai 2012: Curator: Tuuli Sotamaa Atelje Sotamaa: Kivi & Tuuli Sotamaa, Design assistants: Drew Busmire, Djordje Stanojevich, Ashish Mohite Production Team: Lotta Veromaa, Ellinor Jansson, Meng Wang, ‘Sam’ Shi Yin Lighting: Jussi Huittinen Wexner Centre 2006: Kivi Sotamaa Steirisc Herbst 2001: Atelje Sotamaa: Kivi & Tuuli Sotamaa Curators: Zaha Hadid & Patrick Schumacher

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Kiasma 2001: Atelje Sotamaa: Kivi & Tuuli Sotamaa, Collaborator: Michael Hensel The Barbican Centre 1997: Kivi Sotamaa Collaborator: Markus Holmsten Habitare 2011, 1997, 1996 Kivi Sotamaa Collaborator: Markus Holmsten

Exhibition Architecture

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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

Exhibition Architecture

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.

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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.

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Exhibition Architecture

ERUTCETIHCRA NOITIBIHXE 40LOV

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