Art belongs in tunnels, metro stations and on walls

This article has originally been published in the Espoo Magazine 1/2023.
Read other articles in the Espoo Magazine 1/2023
--

The meaning of public art to the city and its residents is complex and surprisingly significant. A work of art in an underpass or in the hallway of an apartment building is an important way of strengthening the appeal, identity and security of a residential area.

A couple of years ago, the active members of the Matinkylä Society (Matinkylä-seura) began to discuss ways to make their residential area more pleasant for all. Many of the area’s underpasses were defaced, which affected the ambiance and increased local residents’ feelings of insecurity.

“We took photos of these tunnels. There were 15 of them altogether. We started an initiative with the city suggesting that these dark underpasses with concrete walls could be turned into bright art galleries,” says Sirkka Ruikkala, the vice-chairperson of the Matinkylä Society.

One might think that art attracts graffiti. However, that has not happened in the Akselinpolku underpass, which was illustrated by the Matinkylä Society with the city’s permission seven years ago.

“It’s the only tunnel in the area that is still clean today. We have noticed that places with high-quality art stay clean. Clearly the graffitists value our efforts to make a place beautiful,” says Ruikkala.

Now there is public art in two underpasses in Matinkylä: Muistomerkki by Kati Immonen in the Viljonpolku underpass and Domino by Laura Pehkonen in the Nuottaniemi underpass.

“We have heard that people enjoy the art along their walking routes and stop to wonder about its meaning,” Ruikkala says.

The two underpasses with art are just the beginning. Together with the city and EMMA, the Espoo Museum of Modern Art, the resident association has planned to add art to one more underpass in Matinkylä every year.

In Matinkylä, the resident association came up with the underpass idea and has been actively involved in the project. The city welcomed the residents’ initiative and decided to launch the project.

The city has also taken part in the planning process and, for example, taken care of the lighting in the underpasses and carried out preparation work to make the places suitable for art. EMMA has been responsible for curating the project, in other words choosing the artists and supporting them in their work.

“It has been wonderful that the city has had such a resident-oriented approach and heard us. This project has brought together the city’s different units, EMMA and the residents of Matinkylä,” says a pleased Ruikkala.

“This project has also proved to us in Matinkylä that the city cares and wants to work together for the benefit of us, the residents!”

The level of activity among the Matinkylä residents is not yet met by others in Espoo, but the city encourages all residents to develop their hometown.

The Cultural Unit organises different kinds of meetings for residents throughout the year and works together with the students of the Espoo School of Art and other schools and day care centres. The Culture Committee has awarded grants to several resident projects that aim to make residential areas more pleasant.

“We take part in many resident events and are often in contact with residents. The resident and district societies, like the Matinkylä Society, are a special resource,” says Tiina Kasvi, Cultural Manager for the City of Espoo.

Espoo is growing and developing quickly. There are more and more residents in Espoo, and new vibrant residential areas are needed for them. Public art can also be used to create an identity for new areas, making them pleasant, unique and connected to the history of the area.

“A well-planned urban environment, which includes public art, creates security and interest. With the help of art, a new area can develop its own identity and becomes more valued,” explains Susanna Tommila, Cultural Director for Espoo.

Culture Espoo 2030 is a cross-administrative programme adopted by the City Council. It aims to include culture and art as part of all city activities – for example teaching and health care services, in addition to city planning.

“Urban art is an important part of Espoo’s strategy,” Tommila says.

Art can also strengthen the identity of a new residential area by reflecting its history.

“Near the Kauklahti railway station, a detailed plan is being prepared for the Lasihytti area, and the art designed for the area will definitely be inspired by the Kauklahti glass factory,” says Henna Paunu, Chief Curator at EMMA.

The Kera art programme was also prepared in connection with the area’s detailed planning process, and the history of the ceramics factory has affected the art design.

“All of the artists chosen for the Kera art project have experience of working with ceramics. The plan includes a sculpture for the pedestrian street and some works of art for the underpasses, which are always important places for the attractiveness of an area,” Paunu says.

EMMA is responsible for the expert work in public art projects commissioned by Espoo and it cooperates closely with the artists and the Urban Environment Sector responsible for construction and city planning.

“The processes are long because the art is designed alongside city planning and construction. The planners and artists work together, which is great. When a pavement or plants for a green area are being planned, they also consider ways to support the theme of a sculpture,” Paunu explains.

Public art could also be a performance, but that has not yet been seen in Espoo. Traditional and modern thinking is intertwined in the movable bronze sculpture Espoo’s Nelli.

“Last summer, it was possible to admire Nelli at the seaside in Haukilahti, and it is now waiting to be relocated in EMMA’s facilities. At the beginning of summer, Nelli will be taken to a new area that I cannot yet reveal,” Paunu says.

Cultural Director Susanna Tommila underlines the vast importance of art in creating identity and as a pull factor. According to her, art is no longer just decoration but an essential part of construction.

Public art can be, for example, a laser-cut image on the floor of a day care centre or an illustrated series of acoustic panels on the wall of a public space. During the building phase, paintings can be created in a hallway or on a building wall that needs to be painted anyway. Art can be integrated with a park bench that has to be built anyway.

“A public work of art that is designed at the right time may not increase the building costs, but it will increase the value of the area. Many developers now demand that there is public art in an area,” Cultural Director Tommila says.

“Art also helps the city fulfil its obligation to promote people’s wellbeing, because it makes residential areas more pleasant and supports wellbeing,” she adds.

Calculations by the Matinkylä Society show that art helps the city save money in cleaning costs, and there is also an important environmental effect. The substances used for removing graffiti from walls may be toxic. There is no need to use them if there is less graffiti.

A few years ago, an art project was carried out in the old Matinkylä mall, which has since been demolished. Its aim was to bring various types of artworks to the otherwise gloomy environment. People soon noticed that art increased the value and attractiveness of the concrete building – also in the eyes of graffitists – and the mall did stay clean.

“It was even possible to lower the maintenance charges of the business premises in the mall because cleaning did not take as much money anymore,” Ruikkala says.

Urban art in Espoo reflects the values that are important to the city, such as sustainability and a life cycle approach. The Lasihytti art programme could, for example, aim to use recycled materials.

There are many artists living in Espoo and their works can be seen in different parts of the city.

“It is always especially nice when the works of a local artist become a part of the city’s public art. A good example is the new West Metro stations, which have some artworks by artists living in Espoo,” says Cultural Manager Tiina Kasvi.

The process starts when an artist chosen by experts at EMMA suggests a work of art for a certain location.

“Once we have approved the suggestion, the artist continues working with the city planners. We have not made the artists compete with each other. Instead, we do research to find the most suitable artist for each project,” Paunu says.

The works curated by EMMA become part of the EMMA collection even though they are not located in EMMA’s premises in Tapiola.

Art projects are closely connected to city planning because art is seen as increasing security in residential areas. Art helps places become recognisable and pleasant.

For example, a dark underpass with concrete walls or a bicycle park can be seen as unsafe environments, but with art and lighting they become more pleasant, which increases the feeling of security.

“When a grey underpass gets proper lighting, colour and a work of art, it also gets an identity. In a manner of speaking, art creates ownership and gives meaning to public places,” says Espoo’s Cultural Director Susanna Tommila.

Art in a public place stirs emotions and interest. Many people see a piece of art along their walking route and begin to wonder what it is about. Surfaces covered with art are also left alone far more often than empty spaces.

“Wall murals and art works in underpasses are rarely defaced. A well-thought-out environment tells people that this place is valued and that they should value it too,” Tommila says.

A work of art by Leena Nio is displayed on the platform wall at the Finnoo metro station. It does not go unnoticed: Haavekuvia is 70 metres long, in other words, as long as the whole platform area.

It consists of 28 square images and each one features a detail related to the seaside nature, reflecting the spirit of the Finnoo residential area located by the sea. The topmost layer has laser-cut aluminium holes through which you can see the bright ombre-painted colours of the second layer.

The work was completed in step with the building of the station, in other words, over a long period of time. Nio worked closely together with the architects designing the station.

“This was the biggest and the most exciting project that I have taken part in. For a long time, I only worked through drawings, scale models and computer modelling. I don’t remember the last time I was as nervous as I was when this enormous piece of work was finally installed,” Nio says.

A final touch was added by adjusting the lighting so that the double layering is seen correctly in the play of light and shadows.

“I hope that metro passengers gain some experiences through my work over many trips, and that children too might spot details in the shapes, such as familiar species of animals and plants,” Nio says and explains her wish:

“A passenger might put their phone away for a moment, look at the platform wall and let their thoughts run freely for a while.”

Read more about the art at the West Metro stations(external link, opens in a new window).

Young people create public art

Through participatory art, the residents, often young people, get to be part of an art project.

In the Länsiväylä underpass in Matinkylä, a participatory piece of public art, curated by EMMA, is being created as a shared project by artist Yasmin May Jaafar, aka Yamahamay, and a group of ninth-grade pupils at Tiistilän koulu.

The artist will paint a mural representing different worlds with spray and brush paints on the walls of the long underpass. Characters printed as a three-dimensional element on an aluminium composite plate will then be attached on top. The characters are designed by the pupils and reproduced by the artist. Their purpose is to say something about the creators.

The pupils designed the characters at workshops guided by Jaafar and art teacher Senja Valo.

“This group is highly skilled and creative. The characters have evolved through different kinds of exercises during the workshops. I am eagerly waiting to see what the pupils’ characters look like in the end,” Jaafar says.

Working with an artist has been a really special experience for the pupils. Sini and Lumi are among those attending the optional art class at Tiistilän koulu, and they have participated in the street art project which began last autumn.

“The best thing has been getting to see how an artist works and using the colours and tools that artists use as well,” Lumi says.

The work in the underpass will be finished by the start of the summer.

“It will be really exciting to see my character in the final artwork on the wall of the underpass,” Sini says.

Text by: Susanna Cygnel. 
Photos by: Tero Ikäheimonen ja Susanna Kekkonen.