Heat pump building in Helsinki: less is more

Building design
The heat pump building realized by Virkkunen & Co is intended to contribute to carbon-neutral energy production. Photo: Tuomas Kivinen

The heat pump building realized by Virkkunen & Co is intended to contribute to carbon-neutral energy production. Photo: Tuomas Kivinen

Finnish architects Virkkunen & Co have realized a heat pump building made of brick in Helsinki, which is an important part of the transition to carbon-neutral energy production. Read more about the architecture of the heat pump building here.

Finnish architects Virkkunen & Co have realized a heat pump building made of brick in Helsinki, which is an important part of the transition to carbon-neutral energy production. Read more about the architecture of the heat pump building here.

The location and the task were not new to the Finnish architectural firm Virkkunen & Co Architects. The architects had already designed two architectural landmarks in the east of Helsinki, near the port of Vuosaari and the Baltic Sea, in the past. Vuosaari Power Plant A, built in 1987, and Vuosaari Power Plant B, built in 1998, have a decisive influence on the character of the industrial landscape today. Virkkunen & Co Architects thus created the context for their new design task of a heat pump building themselves, so to speak. In the immediate vicinity of the existing power plants, the client – the Finnish energy company Helen Ltd – wanted the new power plant as part of its sustainability strategy. The company is striving to achieve carbon-neutral energy production by 2030. The new Vuosaari heat pump building will use excess process heat from power plants A and B in winter and seawater heat in summer to generate district heating.

Virkkunen & Co Architects based the design on the surrounding industrial landscape and created a minimalist box that blends seamlessly into the context of the surroundings. The building has two floors. The first floor consists of a double-height room that houses the main process equipment. The electrical and control rooms are also located on the same level. The machine room is located on the second floor. This level is connected to the roof via an external staircase.

Overall, the building consists of a frame and a shell made of prefabricated concrete elements. These were manufactured off-site and then easily assembled on site as prefabricated parts. Inside, the exposed concrete surfaces dominate the atmosphere. On the outside, the long sides of the box are clad in mottled red brick. This opens up an exciting view from the adjacent parking lot and the road to the south, as well as from the Vuosaari B power station. This is because the façade is not designed entirely in a rigid stacked bond grid, but is supplemented by wing-shaped bricks specially made for the project in the upper section of the longitudinal walls. The stacked bond corresponds with the red brick cladding of the neighboring Vuosaari B power plant. The wing-shaped bricks break up this austerity. The façades of the new heat pump power plant thrive on this contrast between the lively but subtle color and shape variations of the individual bricks and their well thought-out arrangement.

The unusually designed east façade stands alongside the brick walls. This faces the main entrance to the entire power plant site and thus takes on a representative role. It has a double-skin design, with the inner layer consisting of a glass façade clad with tall, thin tubes made of white-painted steel. In addition to the aesthetic component, the design also serves to protect the interior from excessive heat and glare from the sun. Thanks to the arrangement in front of the glass façade, it is still possible to see inside. This allows interested visitors to experience the internal work processes.

The west façade is also designed to contrast with the longitudinal façades. It also has a double-skin structure. The theme of accessibility is staged here in an unusual way. A straight steel staircase is suspended between the outer screen of metal rods and an inner layer of in-situ concrete. The rods are arranged diagonally at the same angle as the trapezoidal bricks on the long sides of the building. This trick means that all four sides of the building have recurring elements. The metal rods and the play with the diagonal alignment thus serve as motifs that subtly build up references.

The architecture of the heat pump building is reduced on the one hand, but finely differentiated in terms of details and materials. For example, the façade treatments and details follow the logic of the floor divisions and room heights of the interior spaces. The interiors of the building thus not only communicate with the exterior, but also bring the industrial building to a human scale.

The Vuosaari heat pump building not only serves as a flagship for the Finnish energy company Helen Ltd, but was also awarded the Architecture MasterPrize in the “Industrial Building” category in 2022. The award recognizes the “seamless integration into the surrounding industrial landscape, the sustainable energy approach and the thoughtful combination of materials and finishes.” With the Vuosaari heat pump building, Virkkunen & Co Architects has undoubtedly made an outstanding contribution to timeless industrial architecture that focuses on ingenious details and appropriateness rather than grand gestures.

Even more bricks: In B12/23, we present projects that have recently been built with bricks. Find out more about the magazine in the editorial.

Get your copy of B12 now here.

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“People don’t trust the personal responsibility of citizens”

Building design

The theme of G+L 06/2020: River quality of life: designing urban waterfronts properly. (Photo:© Lucía deMosteyrín)

We spoke to architect Barbara Buser about river swimming as an urban phenomenon and asked her why Germany is having such a hard time with its river baths.

Barbara Buser from the in situ construction office based in Basel, Zurich and Liestal co-curated the Swim City exhibition. We spoke to the architect about river swimming as an urban phenomenon and asked her why people in Germany – think of the Berlin or Munich initiatives – have such a hard time with their river pools.

In 2017, Munich city activist Benjamin David was celebrated nationwide in the media for his way to work. He swims. Unusual for Germans, commonplace for the Swiss. In Basel summers, even people in suits are transported to work by the Rhine. Barbara Buser, what significance does water have for the quality of life in a city?

Water is an important element in every city, be it in the form of fountains, proximity to the lake or sea, streams or rivers. Water defines the possible development, often even the shape of a city. At the water’s edge, you can experience the seasons intensively, take a walk by the water, relax or do sport. In Basel, the Rhine is the largest contiguous urban space. Letting yourself drift through the city in the river and experiencing it from an unusual perspective is a great thing.

You co-curated the “Swim City” exhibition. What was the aim of the exhibition?

The aim of the exhibition was to awaken the desire of city dwellers to reclaim and use urban waters. We wanted to point out to the people of Basel, Bern, Geneva and Zurich how lucky they are to be able to swim in the river through the middle of the city. But it was also about supporting the various national and international initiatives in Berlin, Paris and New York City and encouraging them to continue fighting for the right to swim in the river.

What insights have you gained from Swim City for your own work as an architect?

I have once again realized how formative water is for a city, how important the interfaces between land and water are, and that these need to be designed extremely carefully.

Political tasks and poor water quality

River swimming is almost unthinkable in major German cities. The laborious discussions about river baths in Berlin and Munich are a good example of this. What do you think is the problem?

Three points. Firstly, that people don’t trust citizens to take responsibility: it’s easier to ban swimming than to draw up rules and take responsibility. Secondly, that the waterway laws need to be adapted – an arduous political task. And thirdly, the water quality – which is often inadequate after heavy rainfall in Berlin or Paris, for example.

Nevertheless, a number of river projects are underway across Europe. Which ones are you particularly looking forward to?

Any project that manages to make river swimming a natural part of everyday life (again). I always have my bathing suit with me when I travel so that I can take advantage of every opportunity to swim.

A detailed article on the Swim City exhibition, which identifies river swimming as an urban phenomenon in Switzerland, appeared in G+L 06/2020 on the topic of water in the city.

Barbara Buser is a qualified architect ETH and energy specialist. In 1992, she was the first woman to take the Rhine ferry captain’s exam in Basel and has regularly steered the Münster ferry across the Rhine and back ever since. Since October 2014, she and a dedicated team have been bringing new life to the Markthalle and KLARA in Basel under the motto “eat, drink, enjoy”. She has been involved in various projects in Berlin with “die Zusammenarbeiter” for years. She has also been a member of the Flussbad Berlin association since it was founded.

Kiril Ass designs

Make Russia great again? Architect Kiril Ass on the new urban beautification program in Moscow and the controversial goal of making Russia great again.

Anyone currently traveling to Moscow will notice that the country is increasingly turning to the national, the past and the ideas of old greatness. We spoke to architect Kiril Ass in Moscow about urban planning, architecture and power. Kiril Ass is one of the most outspoken interlocutors of his generation. He designs, teaches and writes about architecture and works in the office of Alexander Brodsky, one of the main representatives of Soviet paper architecture, as well as with his wife Nadya Korbut, with whom he designs impressive exhibitions.

Kiril Ass: Unlike his predecessor Yuri Luzhkov, Sobyanin was appointed by Putin in 2010. Luzhkov was elected by the population in more or less free elections and held the office for 18 years. He was very interested in architecture and had a lasting impact on the city. Soyanin, on the other hand, was not elected but appointed. At the beginning, the policy of the new Moscow government was liberal: new theaters were opened, libraries were renovated and Gorky Park was redesigned. All these innovations were linked to the person of Sergei Kapkov, Moscow’s Minister of Culture from 2011 to 2015. He was cosmopolitan, with a Western-oriented political style. This period could be described as the beginning of “hippsterization”. The young, urban generation was given a voice, and the city and public space were also designed for them.

What has changed?

Kiril Ass: Kapkov’s successor is more conservative. This conservatism coincided with a growing patriotism, fueled by the Crimean crisis and the crisis in Donetsk. The good news that came with Kapkov was followed by negative news: hundreds of kiosks – small stores were demolished. The reason given was that they were illegal, which was not true. The kiosks were important for public life. The city is now replacing them with a strange “urban beautification program”.

Like those glowing archways that stand around the Arbat, for example.

Kiril Ass: Exactly. There’s always a festival going on. Temporary objects are erected for this, although train and metro stations should actually be the natural urban hubs. These new objects, on the other hand, are located wherever the administration wants to make the city “more beautiful”. Most of the greenery on the boulevards comes from LEDs in the form of butterflies. When small businesses close, the city dies to a certain extent. It is like a living being that must always have the opportunity to adapt itself. This cannot be dictated from above.

What is different today? How do architects deal with this?

Kiril Ass: The Soviet Union’s message was always about the future, whereas today it’s all about the past. We have no real idea of the future. What is considered “good architecture” today ranges from neoclassicism to postmodernism to super-contemporary boxes. There is no overarching formal consensus, architects are left to their own devices and have no strong public voice.

What has happened in public building in the last five years?

Kiril Ass: There are not many public building contracts in the city. The current government is not particularly interested in presenting itself through architecture. It represents itself through empty spaces between buildings, renovating streets and parks. Urban life no longer seems to function. This deficiency is contrasted by the urban beautification program. The aim is to “make Russia great again”. The emphasis is on “again”. There is no idea of the future independent of past concepts.

You can read the entire interview in Baumeister 2/17 from page 16.