Ala Architects / FIN
Light House
In our work, we often first organize the room programme as simplistically as we humanly can, then “overlay” the visual, more intuitive message, generating the architectural scheme. Our entry for the Warsaw Museum of Modern Art consisted of a flat surface, as the surface for direct literal communication and another, almost surreal spatial surface, which works on more intuitive levels. The flat wall acted as “the fourth wall”, a concept of theater articulated by Diderot, acknowledging the presence of an imaginary, transparent “wall” between the audience and events occurring on-stage. This is the surface which everyone accepts as separating reality from fantasy; often the stage opening of a proscenium theatre. In the Warsaw MoMA this surface is the flat wall, separating the works of art from the city. In our design for the Theatre and Concert Hall in Kristiansand, Kilden, it is the undulating oak wall separating the halls from the main foyer and the fjord outside. One must break the fourth wall to access the inside, the content. Form is also used as a sign for content; in Warsaw the form encompasses the room programme as if it was vacuum packaged. In Kristiansand the oak wall describes the rakes of the main auditoriums; presenting the fact the building has several halls.
The form here is a vacuum surface laid onto a man in fetal position. The human body is our common denominator, our common ground.
There is a Finnish phrase describing our Nordic safe haven in contrast to the rest of the world: Lintukoto, the bird’s home. Lintukoto is a mythical place, a very tight place between the edge of the dome of the sky and earth, where birds migrate to and where a very small people live.

Photo: Ilari Järvinen

More information about the exhibition and the other models