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Lauttasaari epitomizes the 1930’s suburban dream. The dream is built of seaviews, grand parks and long vistas across green courtyards between the extensive rows of apartment buildings.

Across the road is the popular hexagonal Mutteri kiosk designed by Bertel Liljeqvist in 1927 to cater for the ferry passengers on their way to their villas (Lauttasaari translates as ferry island). The first bridge to Lauttasaari was built in 1935 and the first block of apartments in 1937, on Pohjoiskaari adjacent to our site. Most of Lauttasaari had been built by the 1960’s and in 1969 a new wider bridge was built. The site is currently known for the strong concrete presence of the Finnish Composers’ Copyright Society Teosto building, built in 1972 and designed by Veikko Malmio.

Our design is based on the principles cherished in Lauttasaari: The form of the building allows for excellent views to sea from every apartment, whilst still preserving a linear form in line with the surrounding city structure allowing for long vistas across the yards. An entrance square with its own café will be formed to complement Mutteri across the road. Also a common sauna will be built on the beautiful natural rock cliff preserved as part of the courtyard rolling down to the new public marina.

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"FINIS"

The charm of Töölönlahti street blocks is in its completing the immediate urban fabric without stealing all the attention. This urban row also shelters the park from discomfort and noise of nearby railroads, and stands as a principle spine to support existing buildings and future public developments. Block 2018 culminates the row, subsequently characterising the entire block.

The proposal is a continuation of the dualistic nature of Block 2018: a new natural terminus that gracefully complements the cityscape. Consisting of one office and two residential developments, the proposal interacts with Finlandia Hall and the adjacent park through the situation of a café pavilion.

From the office development’s pivotal south-east corner, the whole site is anchored to the urban fabric. The façade continues along the tracked perimeter northwards, eventually curving gently inwards. This subtle gesture again highlights its terminus character and also serves to direct flow towards the park.

The offices’ northern end curves inversely to partially envelop the six-storey apartment pavilion that loosely mimics the office’s edge. These unique city villas will be the most desirable apartments in Helsinki.

To the west of the office building is the other apartment pavilion that diagonally faces an entrance from the square at the end of Alvar Alto street.

The housing pavilion in the south-west corner is connected to the offices by an expansive brise-soleil along the south façade. These shading elements transform into balcony rails along the fronts of apartments. The opposite facing of the linear south façade is a curvaceous and asymmetrical park of the city.

Kilden, a theatre and concert hall in Kristiansand, Norway, has brought together all the city?s institutions of performing arts. Kristiansand Symphony Orchestra now has a concert hall
accommodating 1200 attendees. Agder Theater, a regional group, is performing in a theater with a capacity of 700. The theater hall can be transformed to accommodate opera performances to house the ensemble Opera South. In addition, there is a stage for
experimental theater and a multi-purpose hall with a level floor.

Kilden produces experiences. The core of its architecture is the way the concert, theater and multi-purpose halls are serviced efficiently and without interference. The monumental abstract form of the wall of local oak, separates reality from fantasy. Passing through, the audience will move from natural landscape to the realm of performing arts. The wall allures the audience and expresses the diversity of artistic performances housed by the building as well as the power induced by their combination.

The wall made of spiral overlapping boards is not only a disguised theatrical effect but a concrete tactile artifact, which also improves the acoustics of the foyer. The infinite blackness of the other facades emphasizes the spectacle of the foyer.

The concept for the Lappeenranta City theatre is exceptional: The theatre will be placed on top of a shopping centre. The idea, however, is ancient, as this is theatre coming back to its roots, back to the marketplace, back to the people. Millions visiting the shopping centre annually will be able to enjoy a variety of plays, while the restaurants cater for intermission. It is also exceptional that basically the entire theatre will be on one level. This is functionally the ideal situation. The stage sets will be brought to the centre of the workshop by a large lift. After assembly the sets can be pushed directly into one of the three halls. The support spaces outline the halls in a linear procession from the technical personnel to the dressing rooms. This means the entire theatre has one single corridor, instead of the usual incoherent dark jungle of spaces backstage. All backspaces will have windows to the street, which is of great importance for these professionals mainly working on and around the stage without daylight. The foyer will be a warm and soft place in contrast with the light and colourful commercial areas. To maximize interaction, the foyer and shopping arcade open fully into each other. Significant synergy will be achieved with this solution both in construction and maintenance.