© Petri Virtanen

C.PetriVirtanen

对赫尔辛基当代艺术博物馆的需求早在20世纪60年代就出现了，尽管关于如何创造一个延迟了30年的决定性行动的辩论。直到1990年，当代艺术博物馆才向公众开放，即使在那时，它也是暂时的。1992年秋季发起了一个新的永久性博物馆的设计竞赛；次年，史蒂文·霍尔的作品“Chiasma”从515多个其他提案中选出。

Demand for a contemporary art museum in Helsinki arose as early as the 1960s, although debates on just how to create one delayed decisive action for three decades. It wasn’t until 1990 that the Museum of Contemporary Art opened to the public, and even then it was in a temporary setting. A design competition for a new, permanent museum launched in the autumn of 1992; the following year, Steven Holl’s entry, entitled “Chiasma,” was selected from over 515 other proposals.[1]

韦伯斯特字典将交叉定义为“解剖交集”。正如它的名字所暗示的，Kiasma是一个交叉口的设计。它位于赫尔辛基中心的位置是几个著名建筑之间的焦点：芬兰议会大楼与博物馆的西面直接相邻，阿尔瓦·阿尔托的芬兰迪亚大厅位于南面，埃莱尔·萨里宁的赫尔辛基站在东面。博物馆的北面。同时，它是以T l Bay为界的。

Webster’s Dictionary defines chiasma as “an anatomical intersection.” Kiasma is, as its name implies, a design of intersections. Its site in the center of Helsinki is a focal point between several notable structures: the Finnish Parliament building is directly adjacent to the museum’s west, Alvar Aalto’s Finlandia Hall lies to the south, and Eliel Saarinen’s Helsinki Station can be found to the east. The northern face of the museum. meanwhile, is bounded by Töölö Bay.[2]

Courtesy of Steven Holl Architects

史蒂文·霍尔建筑师

这些特征是决定建筑物形式的驱动力：一条弯曲的“文化线”将Kiasma和Finlandia Hall连接起来，而一条直线“自然线”将其与景观和海湾连接起来。[3]这一地点综合的结果是一个由三个主要要素组成的结构：两个建筑部件和水。东部建筑的体积是一个扭曲的、弯曲的块体，它的南面和东面被截断，在那里它们与城市结构相交。同时，它是一种比较典型的正交挤压。这两种形式在遗址的北端相遇，在那里它们与反射池的水相交，反映出Holl向南延伸T l Bay的提议。[4]

These features served as driving forces to determine the form of the building: a curved “cultural line” links Kiasma to Finlandia Hall, while a straight “natural line” connects it to the landscape and the bay.[3] The result of this site synthesis is a structure comprising three main elements: two building components and water. The eastern building volume is a twisted, curving mass whose southern and eastern faces are truncated where they meet the urban fabric. Its western counterpart, meanwhile, is a more typical orthogonal extrusion. The two forms meet at the northern end of the site, where they intersect with the waters of a reflecting pool that calls out Holl’s proposed southward extension of Töölö Bay.[4]

Courtesy of Steven Holl Architects

史蒂文·霍尔建筑师

参观者通过一个有玻璃天花板的宽敞大厅进入博物馆。这个大厅是楼梯、坡道和走廊的起点，这些走廊弯弯曲曲，通向大楼的其他部分。[5]建筑师把画廊空间描述为“几乎是长方形的”，每个走廊都有一堵弯曲的墙。这种不规律区分了每一个连续的空间，创造了一个复杂的视觉和空间体验，当游客通过博物馆画廊。[6]最初的印象是典型的封闭的，没有地方的博物馆内部，然而，只有通过移动通过每一个空间，才能发现各种意想不到的看法到外面。这种编排的外在聚焦，再加上不规则的内部形态，创造了Holl所谓的“各种空间体验”[7]。

Visitors enter the museum through a spacious lobby with a glazed ceiling. This lobby serves as the starting point for stairways, ramp, and corridors that curve off to lead into the rest of the building.[5] The gallery spaces are characterized by the architect as “almost rectangular,” each containing one curved wall. This irregularity differentiates each successive space, creating a complex visual and spatial experience as visitors pass through the museum galleries.[6] The initial impression is that of the typical closed-in, placeless museum interior; however, it is only by moving through each space that one discovers various unexpected views to the outside. This choreographed outward focus, combined with the irregular forms of the interior, creates what Holl called “a variety of spatial experiences.”[7]

Courtesy of Steven Holl Architects

史蒂文·霍尔建筑师

按照Holl的推测，这种多样性对于Kiasma的功能是必不可少的。当代艺术家的作品层出不穷，因此，一个展示他们的博物馆必须能够预见和提供任何东西，从微妙和克制到宏伟和不可预测。博物馆不规则的、微妙的空间被霍尔描述为展示同样杂乱无章的艺术的“无声而戏剧性的背景”的展览馆。

This variety was, in Holl’s reckoning, essential to the function of Kiasma. Contemporary artists produce an endless stream of unique works, and so a museum that showcases them must be able to anticipate and provide for anything ranging from the subtle and restrained to the grandiose and unpredictable. The irregular, subtly differentiated spaces of the museum serve as exhibition halls that Holl describes as a “silent, yet dramatic backdrop” for the display of equally variegated art.[8]

© Pirje Mykkaenen

Pirje Mykkaenen

霍尔的工作不仅仅是单纯的包装和窗户，让每个空间都有自己独特的特征。自然光是一个重要的考虑因素-霍尔被芬兰日照的不断变化的特征所吸引。[9]Kiasma的许多窗户是由半透明的玻璃组成的，当它进入室内时，它会扩散斯堪的纳维亚的阳光。城市景观的断续节奏是通过偶尔加入完全透明的玻璃来实现的-它既是一个狭窄的新月形，可以俯瞰赫尔辛基站，也是建筑物南北两端的全幕墙立面。

Holl worked with more than pure massing and windows to give each space its own unique character. Natural light was an important consideration – Holl was fascinated by the constantly changing character of Finland’s daylight.[9] Many of the windows in Kiasma are composed of translucent glazing, which diffuses the Scandinavian sunlight as it enters the interior. The staccato rhythm of city views is achieved by the occasional inclusion of fully transparent glass – both as a narrow crescent that allows a view to Helsinki Station and as full curtain-wall facades at the north and south ends of the building’s volumes.[10]

光线也通过大量的天窗渗透到Kiasma。天窗不仅仅是在天花板上简单的刺穿，天窗与建筑物弯曲不规则的线条一起工作，从而将光线本身转化为雕塑元素。天花板和上墙的水平“遮光”部分将天窗和牧师窗口的光线偏转和漫射到博物馆空间；这一系统允许单个屋顶的自然光穿透并照亮多个层次。[11]

Light also permeates Kiasma through an abundance of skylights. More than simple punctures in the ceiling, the skylights work with the curving, irregular lines of the building to turn light into a sculptural element in itself. Horizontal ‘light-catching’ sections along the ceilings and upper walls deflect and diffuse light from skylights and clerestory windows down into the museum spaces; this system allows natural light from a single roof opening to penetrate through and illuminate multiple levels.[11]

© Petri Virtanen

C.PetriVirtanen

建筑师StevenHoll建筑师位置Mannerheimpatsen 2，00100 Helsingfors，芬兰类别画廊主管StevenHoll项目年1998年

Architects Steven Holl Architects Location Mannerheimplatsen 2, 00100 Helsingfors, Finland Category Gallery Architect in Charge Steven Holl Project Year 1998