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Pietilä's Crystal for the Finnish President

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Pietilä's Crystal for the Finnish President Architectoni.ca © [2013], Copyright CCAAS Kati Blom, Architectoni.ca 2013, Vol.2, 1-17 Pietilä’s Crystal for the Finnish President Kati Blom Lecturer at Newcastle University, School of Architecture, Planning and Landscape, Claremont Tower, NE1 7RU, Newcastle-upon-Tyne, United Kingdom. Telephone: 00-44-1912226003, Email: [email protected] doi:10.5618/arch.v2.1 || Received: 2012-11-26, Accepted: 2012-12-2, Available online: 2012-12-12 Abstract Rationalism and what seems to be – from the view of This article investigates in detail the Finnish the Rationalistic camp – an idiosyncratic Expression- rationalist reception of so-called humane modern ism. In this debate romantic, expressionistic and architecture and especially the Pietiläs proposed organic are used as synonyms. All non-rectangular and then built design for the residence of the forms are summed as exceptions: crystalline or Finnish President (Mica Moraine, later Mäntyniemi organic forms, zoo- or geomorphologic, but more in Helsinki 1983-1992). It argues that the importantly, not incorporating spatial experiences into opponents of the proposal were dismissing the this equation. This article will study this position in architectural aim to integrate cultural and relation to Reima Pietilä’s (1923-1993) architecture, geographical context to the spatial experience, and specifically his last work, the official residence of rather than imitate natural (biomorphic) or the President of Finland, Mica Moraine, later called primitive (vernacular) forms. The accusations at Mäntyniemi, (1983-1992) . the time were based on the premise that the forms The formal accusations by rationalists dismissed of the proposal – Mica Moraine- were representing the topological site-specificities or methodical depth the past. The spatiality of Pietilä’s genius loci – of his architecture, not to mention the experiential or approach is revisited by contrasting Pietilä’s kinaesthetic aspirations. These are all favoured by oeuvre to that of Mikko Heikkinen and Markku Alvar Aalto (1898-1976), Reima Pietilä and lately Komonen (Lume in Helsinki 2000) and the also by Juha Leiviskä (1936- ).1 These architects have reception of the latter. Formal rational perception been called, especially in Britain, Finnish alchemists of romantic or organic architecture in Finland of the difficult cult of compounding nature and dismisses the experiential approach of Pietilä’s functionalism or especially in connection with Aalto, architecture, which uses different spatial media to who represents a humane approach. Most relevant is reach a point where architecture can no longer be surely Colin St John Wilson in his "The Other judged via visual media, but only by experiencing a Tradition of Modern Architecture: The Uncompleted temporal spatial event of the play of interiority and Project".2 exteriority. What looks from outside to be a humane – Finnish The aim of this article is to give the Anglo-Saxon – version of Modernism, turns to be, when viewed by audience an insight of the Finnish architectural Rationalists in Finland, an aversion or isolated discussion in the late 20th century. Finnish texts by exception from hardcore objectivism. However, Vilhelm Helander, Juhani Pallasmaa, Reima without being able to completely dismiss Alvar Pietilä, and Asko Salokorpi are used, and Anglo- Aalto’s architecture because of its political and Saxon references like those of Malcolm Quantrill’s, cultural impact on the international image of Finnish and Sarah Menin’s are used to investigate an architecture, the architecture of “the other tradition” external, contemporary view of Finnish had been used as a cover image when advertising architecture’s most heroic period. Finnish architecture abroad. 3 This painful dilemma caused by being unable to fully ignore Aalto’s, Keywords: Finnish architecture; Raili and Reima Pietilä’s and Leiviskä’s presence in the architectural Pietilä architects and Mica Moraine / Mäntyniemi, arena resulted in convoluted rationalisation of the Heikkinen-Komonen architects and Lume, rationalism; hidden repulsion felt on the powerful themes of their genius loci; spatial experience; formal criteria in oeuvre. This dichotomy between the consensual criticism; accusations of primitivism. architectural tradition and the other tradition has resulted in blindness of not seeing where the real difference lies; when recognising formal differences 1. Introduction between these two traditions the critics have Over the past 50 years, the Finnish architectural overlooked the spatial and experiential qualities. discourse had been polarised between mainstream 1 http://ccaasmag.org/ARCH Architectoni.ca © [2013], Copyright CCAAS Kati Blom, Architectoni.ca 2013, Vol.2, 1-17 Fig. 1-4. Competition drawings for the Mica Moraine, including elevations and a sectional and plan detail of the wall. 2. The perception of Mica Moraine changing, vortex-like enclosures, with varying light When Reima and his wife and partner Raili Pietilä’s conditions and outward views. In the exhibition (1926-) entry Mica Moraine4 won the competition for catalogue of the Museum of Finnish Architecture the president’s official residence, the announcement of Pietilä: Intermediate Zones in Modern Architecture their success was followed by a public debate on the (1985), the materials for Mica Moraine are summed 24th of May 1984 at the Museum of Finnish up as follows by Pietilä: “large stone plinth varying in Architecture. 5 Some of the debaters considered the height with intensive use of glazed areas subdivided winning entry a failure, having deemed it irrational. I into a filigree branch pattern of mullions,” while its attended this discussion, and at the time I wondered architectural character is described in terms of, “Mythological forces of the Finnish nature: receding about the strong reactions, as I myself considered the 6 solution to be very logical, organic, and site-specific. glaciation and subsequent land upheaval.” The Perhaps the reactions of jealous co-competitors are formal glazier resemblances unite the interior and understandable in the battle for a project of this exterior. importance, but obviously it was the non-Euclidean The Mica Moraine project had two key precedents: forms that triggered some of these reactions. the Kaleva church, already mentioned, and Dipoli, the The Pietilä's entry uses repetition as a method in Students’ Union Building of Helsinki University of shaping the irregular composition which follows the Technology in Otaniemi (1966). In the Kaleva church contours smoothly. The main access was placed in the one finds the idea of a rock like appearance- a centre of the building, while the entrance court yard is homogeneous monolith - which is opened up via a a composition of two concave forms, creating two filigreed web of interspaces which punctuate different yards: private and official. The other side of movements of the visitor inside the church. Pietilä the building, facing the sea is clearly modular in its explains that “…in good modern architecture the character, creating a rhythmic convex glazed façade. exterior and interior spaces form a constructive union. The overall volume is cut sharply with a flat roof, thus Perhaps in the church, a certain ‘genius loci’ together relating to the Pietilä's Kaleva Church (1959-1966) in with construction becomes ‘metaphorical’. In other Tampere, Finland. The two different façades of the words – an architectural imagery emerges and building share a common angular appearance similar communicates.” (Pietilä 1985, 42) This intended to mineral formations. The interiors form ever experienced fusion of embodied spatial events of 2 http://ccaasmag.org/ARCH Architectoni.ca © [2013], Copyright CCAAS Kati Blom, Architectoni.ca 2013, Vol.2, 1-17 kineasthetic gestures has been tried out in Kaleva I discussed the issue of morphology with Reima sketch models, and revisited in Mica Moraine, Pietilä, who said to me that he had become ‘a friend according to Pietilä. In the latter Dipoli project, Pietilä with all the shapes’, and furthermore ‘with the would test for the first time his genius loci idea as an emotions they are related to’. Every shape has to be archetypal interiority, the Nordic cave, a conception equally considered a possibility in architecture, for the that returns in Mica Moraine. He describes this in form was not an end, but a conclusion of a wider opposition to the architecture of ‘techno-culture’: consideration of the cultural and topographical instead, this is a ’nature-architecture’, whose terms are conditions. in balanced co-existence:. “[…] Dipoli”, he writes, 2.1. Accusations of primitivism. As an aftermath of “essentially expresses this consensus and context.” the debate Arkkitehtiuutiset – the professional (Pietilä 1985, 15) Both landscaping and architecture newsletter by the SAFA (Professional Body of are meant to revitalise the semi-suburban site to Finnish Architects) – published an article by a young resemble its primary (pre-industrial) condition. From architect student Pirkko Eskola.8 Reima Pietilä asked the balance between the original, undamaged my opinion about the student’s writing; he himself condition of the site, the landscaping and the was confused. He had invested a lot to this congenial architecture, particularity arises as an competition - the Finnish president Mauno Koivisto atmosphere. If the damaged forest around Dipoli being his school-mate. Eskola argues that the shapes could recover via this type of architectural practice, the Pietilä’s used definitely
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