ALVAR AALTO
(1898 - 1976)
Alvar Aato (1898 - 1976) is a Finish architect and furniture designer and is widely recognized as a leading Modernist in late 1920s. In the first stage of his practices (1920s - 1940s), we can see an enormous shift from the Nordic Classicism style to a Modernism approach, and then developed into a so-called Romantic Modernism which to emphasize Aalto’s unique approach to Modernism other than the famous Purist Modernism as it is known for. This movement is most evident in Viipui Library in Russia, in which many Nordic Classicism style involved in the initial design for the competition was completely omitted after a long suspension of the project due to the war, instead adoption of modern approach was utilized to this building. During this stage of his career, it can be seen that he was strongly influenced by many modern architects of the same period such as Le Corbusier, Mies van de Rohe or Frank Lord Wright; and a strong adoption of International Style, which involved rectilinear forms; light, taut plane surfaces that have been completely stripped of applied ornamentation ;open interior spaces; as well as a visually weightless quality. Two building to be analyzed below are among the most significant and representative of Alvar Aalto’s architecture style in this period. These projects are designed when the architect has come to his full blossom in the modern style, as well as inherent many elements that inform his next stage: Experimentalism. The second important period of Aalto’s architecture practices is when he moved away from the usual Modernism focus on industrial, mass-produced architecture towards something more unique - a hand-crafted architecture of mixed materials, impure form and tactile detailing. This indicates a more abstract and strongly rooted in the landscape. These characteristics of Aalto’s approach to architecture came to realization of many famous projects such as Villa Mairea, MIT Baker Dormitory, in which new approach to materials are explored and then later on applied in many other buildings; as well as a strong connection and careful integration with existence landscape become more evident in this phase of Aalto’s. In am, personally, very interested in the way Aalto creates a sense of human-scale of nature and masterly articulates natural element into his design, both internal and external space, without making it look like an ‘attempt’. This not only blow a sense of natural life to his building, but bring about the sense of ‘transformational aesthetics’ which the building ‘transform’ itself with the natural life cycle. As along as the natural cycle continues, so as the architecture. I can deeply feel this sense of this continuity and immortality of the architecture within its nature in Aalto own house in Hensinki - the building I spent most time with in Phase 1.
ALVAR AALTO OWN HOUSE Riihitie 20, 00330 Helsinki, Finland
1934-1936
As a result of a growing architecture practice, Aalto moved his residence and office to a new location. He received an almost untouched landscape in 1934 and the house was built in 1936. The surrounding was not only left untouched but also acted as a reference, inspiration and anchor to his whole design. This strong respect and integration with site as well as pre-existing conditions become an indispensable feature throughout Aalto’s career. The house anticipates the masterpiece Villa Mairea shortly after, in which many elements and use of form, materials were from his own house in Helsinki. The house is clearly influenced by International Style, yet early in this time of his career, especially with his own villa, Aalto started to show an experimental treatment to his design, both in the fvorm and detailing.
VIIPURI LIBRARY Vyborg Central Park, Russia
1927-1935
Like many other projects, Aalto won the design competition for Viipuri Library in 1927 when Viipuri city was a part of Finland sovereign. Back then, the design was said to be influenced by Nordic Classicism Style. The project was suspended until 1933, coupled with the change in location, which witness a complete change in the design for the building. Aalto omitted all the Classicism elements, instead get more inspirations from Modernism style in his final design for the library. This building is also a strong indicator for the Functionalism that was heavily adopted by Aalto which then become a priority in his entire career as an architect.
BEAUTY IS AN OUTCOME, NOT A PREMISE ALVAR AALTO -
USE OF FORM GEOMETRY and GUIDING PRINCIPLE ALVAR AALTO OWN HOUSE
VIIPURI LIBRARY
Riihitie 20, 00330 Helsinki, Finland
Vyborg Central Park, Russia
Basic geometry: L shape
Derivative geometry: From the basic gemetry, form is added and subtracted to create a derivative form
Basic geometry: linear elements
Derivative geometry: From the basic gemetry, form is added and subtracted to create a derivative form
AALVAR ALLTO: RATIONALIST INTERIOR: CIRCULATION
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REGIONALIST
ALVAR AALTO OWN HOUSE
VIIPURI LIBRARY
Riihitie 20, 00330 Helsinki, Finland
Vyborg Central Park, Russia
flow of circulation
flow of circulation of public space flow of circulation of limited access space main entrance
RECREATING THE SENSE OF NATURE LIGHTING + SPATIAL ZONING ALVAR AALTO OWN HOUSE
VIIPURI LIBRARY
Riihitie 20, 00330 Helsinki, Finland
Vyborg Central Park, Russia
Direct day light access
sharing space
Indirect day light access
Private space
No day light access
office space
Direct day light access
public space
Indirect day light access
limited- access space
No day light access
DIARY
FORMAL RULES OF THE ARCHITECT:
ALVAR AALTO 1. USE OF FORM AND GEOMETRY: Use of basic geometry with subtractive and additive form. With Aalto, form is not the premise, but the result from the process of satisfying the needs and considering the site contexts and make the most of the existing conditions. 2. A IDENTITY OF A FUNCTIONALIST: This can be clearly seen in the circulation of each and every building designed by Aalto. With Alto, to design does not mean to sacrificing the function of the building, but to improve it. He repeatedly mention the ‘human factor’ in his entire career to emphasize his philosophy. 3. THE INTEGRATION WITH NATURE AND SITE
A. INSPIRATION FROM NATURE PATTERNS
i, The conceptual and idea coming from the site landscape and nature (as with Viipuri Library) ii, Use reference from natural pattern (Forest, organic shape - Villa Mairea) B. USE OF REAL NATURAL EzLEMENTS TO PROVIDE SOLUTION FOR BUILDING CONTEXTS i, take most advantage of natural lighting Light not only act with its real function, which is to provide enough lighting, but also act as a guiding tool to direct users into a particular space, as well as to help define different zones and space. cle.
ii, The use of natural materials (wood, timber) III, Bring the green color to building, make it have its own life cy-
MODEL