Between architecture and the field by Mike Ramwell

MARS Studio

between architecture & the field

hallett 2

hathaway 3

stanforth

between architecture & the field

MARS Studio

between architecture & the field

hallett 10

hathaway 11

stanforth

between architecture & the field

between prototyping & architecture

between drawing & architecture

between architecture & the field

MARS Studio

between prototyping & architecture

hallett 14

hathaway 15

stanforth

Introduction Prototyping architecture Left:Prototyping Architecture logo designed by Andrew Tinsdale specifically for the exhibition

As part of choosing the Making Architecture Research Seminar unit run by Prof.Michael Stacey, we were given the opportunity to help out with the upcoming Prototyping Exhibition. This opportunity not only allows us to gain insight from being able to study the prototypes first hand, but also allows us to gain practical skills through arranging, curating, assembling, and making. The Hope is that by working with the prototypes some of the research, theories and techniques will help inform some aspect of our year long thesis. The Wolfson Prototyping hall is a new addition to the University of Nottinghamâ&#x20AC;&#x2122;s Jubilee campus. The hall has been created to allow the testing of prototypes, assemblies and components, specifically aimed at bringing together industry, practice and consultants. This will lead to the advancement of the construction industry, through the progression and testing of new components, construction techniques and materials. One of the main prototypes to be assembled and exhibited in the hall is the Protocell Installation by Philip Beesley Architecture Inc and the University of Waterloo, Ontario as part of their Living Architecture research program. The Installation is the first of its kind, which truly resonates the importance and opportunity the hall represent for the University Of Nottingham. The Wolfson Prototyping Hall is primarily aimed at decreasing the energy dependence and consumption of Architecture and the built environment, through the continued research and advancement of rapid prototyping, prefabrication and Passivhaus solutions for projects happening today.

Prototyping hall display arrangment an insert MAIN ENTRANCE

24 30 30

Viewing Platform Above

25 [above]

TOOL STORE 23

Stage

5 29

16 11 TECHNICIAN WORKSHOP

18 21

PLANT ROOM

14 TECHNICIAN OFFICE

ction with Wooden Panel - Soren Nielsen, CINARK 1 ing Guidelines Anne-Mette Manelius, CINARK 1 ing Guidelines r Nielsen, Nikolaj Callisen Friis, CINARK

EXTERNAL PROTOTYPING AREA

20. 21. 22.

Passion Façade - Mark Bury, RMIT 1 Layout and Formatting Guidelines Protocell Mesh - Philip Beesley Architect Inc. 1 Layout and Formatting Guidelines Timber Wave - AL_A

29. 30. 31.

Structural Glass Corners - Cantiﬁx 1 Layout and Formatting Guidelines TRADA Pavilion Leg Prototype + Model - Ramboll UK 1 Layout and Formatting Guidelines

To and Fro Table + SLS Models of Times Eureka Pavilion - NEX

EXHIBITS-

as represented on hall arrangment plan

Prototypes New Materials Technology Transfer 1.Qubiss Air - Trimo is a unitised total wall system designed to maximise the internal floor space of a building by being up to three times thinner than traditional facades. It comprises opaque, translucent and transparent modules, which are designed to self-span between the floor slabs of a building

2.Thames

Water Tower-B.S.R.F This inventive tower of glass and stainless steel is a prototype for an environmentally responsible and responsive building. It was built to house a surge pipe on Thames Water’s ring main; an unseen marvel of hydro engineering serving all of London.

3.Quantum Cloud-Anthony Gormley

The creation of a node that could deal with the variations in relative angles and rotations was a key factor in the success of this project. There was no repetition of the joints making the use of normal casting techniques impractical. Every one of the 364 nodes was unique.

4.Single Crystal Blade-Rolls Royce Two components of contemporary Rolls-Royce jet engines have driven the development of the nickel-based superalloys are the highpressure turbine blade and disc. The exhibit is a High Pressure Turbine Blade cast and ‘grown’ as a single nickel alloy crystal.

5.Nasher Sculpture Centre-Renzo Piano/Arup

The cast aluminium ‘shells’ form the unique shading of the Nasher Sculpture Centre’s bespoke glass roof. Each ‘shell’ plays an important part in creating an environment with optimum conditions for displaying sculpture by successfully filtering direct light that could degrade the works on display. The result is a spectacular naturally lit environment.

6.NemtoxII-FRG, Architektur One

Detmolder

Schule

Fur

technology that has materialised this desire is Additive Manufacturing (AM):A Layered production of parts from a single 3D file. The presented nodal point ‘Nematox II’ is the first physical result of the change in engineering when utilising Additive Manufacturing for façade construction.

7.Additive Segal,M3,UoN

Manufactured

Violin-Joel

Using additive manufacturing technology, Dr Joel Segal has teamed up with EOS Gmbh to produce a laser-sintered violin, which has been in development in the Engineering Faculty over the past year. EOS produced a body made from Alumide® (aluminium filled polyamide) using one of their advanced laser-sintering systems, the EOSINT P390.

8. GRP Shell Prototype-Heinz Isler Better known for his ‘bubble’ and inspiring free-form thin reinforced concrete shells, the Swiss engineer Heinz Isler (1926-2009) also pioneered the use of GRP for building components. Itself made from GRP, reputedly by Isler himself, the prototype is for a 6 metre span GRP roof module destined to be used to line military vapour and moisture proof storage facilities in long tunnels in the Swiss mountains.

9. Selection of Works-EPSRC

Additive Manufacturing (AM) is the direct fabrication of enduse products and components employing technologies that deposit material layer-by-layer. It enables the manufacture of geometrically complex, low to medium volume production components in a range of materials, with little (if any) fixed tooling or manual intervention beyond the initial product design.

10. Reversable Construction With Wooden Panel-Soren Nielsen This project consists of a series of 1:1

nodes, each containing a motif characteristic for demountable buildings. This contribution is linked to an Industrial PhD project that explores a construction method where a larger proportion of components can be recycled at the end of their use. An essential strategy to secure increased recycling is to ensure that buildings components are manufactured with ‘reversible construction’ in mind.

11.

Fabric

Fromwork-Anna-Mette

Manelius,

Cinark Fabric formwork is a new construction method for concrete structures that utilizes sheets of fabric as flexible, lightweight molds. Based on a recently completed PhD project about the architectural potential of fabric formwork for concrete, “Fabric Formwork Concrete as Material and Process” 12. Autarki 1:1-Jasper Nielsen, Nikolaj Friis, Cinark Autarki 1:1Using optimized technical processes and

intelligent material use we investigated solutions which could improve recyclability and reduce the energy consumption of building. Autarki 1:1 (Greek for Self-sufficient) is constructed as a passive house with the sun as the main source of heating and natural ventilation as a focal point.

13. Optical Fiber Concrete-Jonannes Greisen, Cinark Optical fibres transmitting light through

Ruff

concrete can be used to show live images on concrete surfaces. The display technology has been developed for planar concrete screens by Dupont Lightstone. The presented prototype is the final element in the research and development of the next generation of formwork technology for optical fibres.

14. 50% Recycled Aluminium Jaguar Land Rover Prototype-Jaguar Land Rover 15.Loblolly House Prototype-Kieran Timberlake Loblolly House proposes a new, more efficient method of building through the use of building information modeling (BIM) and integrated component assemblies. The thousands of parts, which make up a building are collapsed into a few dozen off-site fabricated assemblies that are simply attached to an industrial aluminium frame on-site.

16. Bones- Barko Leibinger Architekten The technique is 3D Cutting (Revolving). Stock tubes of stainless steel have been CNC cut, bilaterally, symmetrically or randomly. With an ornamental and performative intent, these components of Barkow Leibinger’s Architecture can become, sunscreens for glass facades or elements in a rotating dynamic façade.

8 20

17. ZOID- Yves Ebnother Zoid

is a prototypical product which explores the possibilities of small-scale computer-controlled production. Inititated as a showcase project for a steel furniture manufacturer over a decade ago, it was only possible to solve its geometrical issues with the help of advanced parametric software.

18. Aquatic Centre Formwork- Zaha Hadid/ PERI For the Olympic Games in London Zaha Hadid, one of the best

known and influential figures in contemporary architecture has created an arena resembling the shape of a large wave. The design of her buildings often cross the boundaries set by forms previously considered as non-realisable in modern architecture. The highly visible curved shape of the roof construction is consistently transferred to the inside of the building leading to a complexity of design that was met by the PERI design engineers.

19. FabPod- RMIT FabPod combines research into the sound diffusing properties of hyperbolic surfaces, the problem of semi enclosed meeting areas within open plan settings and the use of digital modelling and mass customised CNC prototyping.

20. Passion Facade- Mark Bury, RMIT The design and construction of the Sagrada Família Basilica by the Catalan Architect Antoni Gaudí (1852 – 1926) is a process that has involved physical modelling and prototyping at all scales throughout its 130 year progress. the facade has remained incomplete, and the church has yet to be crowned with a colonnade of Gaudi’s unique and powerfully organic columns. A simplified schema was developed for the colonnade, each column became a hyperbolic paraboloid with “roots” and “branches” arranged around a hyperboloid of revolution trunk. 21. Protocell Mesh- Philip Beesley Architect Inc. The Protocell Mesh project integrates first-generation

prototypes that include aluminium meshwork canopy scaffolding and a suspended protocell carbon-capture filter array.

22. Timber Wave-Al_A

25. Energy Bag- Seamus Garvey, UoN The Energy Bag™ is a flexible containment for storing compressed air underwater.

26. CSET- Mario Cucinella Architects The Centre for Sustainable Energy Technologies (CSET) building on the University of Nottingham’s Ningbo campus in China, was designed by Mario Cucinella Architects with environmental design by Professor Brain Ford and completed in November 2008. 27. The Green School Gaza, Palestine- Mario Cucinella Archtects. 28. PDEC- Prof. Brian Ford, EDRGI- Frialia The

integration of PDEC (Passive Downdraught Evaporative Cooling) in the Nottingham House for the Solar Decathlon Europe 2010: Madrid, was the first application of this technique in southern European housing. Cooling is induced through the evaporation of water droplets from misting nozzles suspended below a rooflight. The cooled air falls and flows towards the perimeter of the house, where it is exhausted.

29. Structural Glass Corners- Cantifix Cantifix has developed the Invisible Corner as the next natural stage in glass construction. Applying knowledge and experience of structural glazing to modern technology, the Invisible Corner combines two panels to form a single piece of glass which can be put together to form a sealed double-glazed unit - creating a practically undetectable corner with a standard u-value of 1.5 W/m2/K. 30. TRADA Pavilion Leg Prototype- Ramboll UK This prototype is a 1:1 section of the Trada pavilion developed

by the Ramboll Computational Design team.It utilises state-of-theart digital tools. The shell has been dissected into a planar threevalence mesh using an innovative algorithm, this has enabled us to construct a free form surface using flat panels. These panels are connected with standard hinges and the structure works as a fully pinned structure with no bending capacity between the panels.

The V&A’s Cromwell Road entrance is vast, multi-layered and very ornamental. The form of the Timber Wave responded to this with a single dynamic gesture in timber; the use of wood as a structural material is well documented at the V&A. American red oak was selected for its durability and warm red colours. Repetition of motif is very much part of the decorative and didactic tradition of the V&A, and this structure was born from that. Threedimensional and asymmetric in form, it created its own balance and was visible from long distances as you approached along the Cromwell Road.

31. To and Fro Table+SLS Modles of Times Eureka Pavillion-NEX The To-and-Fro table is designed

Structural thermal breaks are a key point in every building and they require detailed consideration from both the architect and the structural engineer. Schöck Isokorb’s thermal breaks make this process easier, because they transfer sheer forces and continuous bending moments to concrete slabs while reducing thermal conductivity.

Bulbs The Plumen 001 is the first of, we hope, many products that will show that light bulbs can be efficient and beautiful at the same time.

23. Structural Thermal Breaks- Schock

to expand the range of communication between users through a sophisticated arrangement of material and structure. As verbal communication accounts for only a small part of how we interact, the to-and-fro table facilitates more open full body communication with certain individuals while remaining discreetly hidden to others.

32. Plumen 001 Energy Saving Light Bulb- Plumen

24. Word Record Energy Generation Rowing Machine- Prof. Mark Gillott et. al.

Fabric Fromwork-Anne-Mette Manelius, Cinark The concept of casting concrete in fabrics, fabric formwork technology, has resurfaced at various times and in different forms throughout the past century Unlike traditional formwork, the material is highly flexible and can deflect under the pressure of fresh concrete. The resulting concrete form completely replicates the aesthetic aspect and being of the fibrous formwork. Amazing undulations, curvatures and fantastic finished that are created through this process go against the common perception associated with concrete structures.

Right: Anna-Metta fabric formwork completed at the University of Nottingham for the Prototyping Exhibition Photo By:Hallett, Hathaway & Stanforth

Anne-Mette has designed a three legged fabric formwork column, the from is derived through optimised stability also allowing ease of construction. The prototype that Anne-Mette has created is truly that, as she has never done this particular concrete cast before. The thinking behind this particular cast comes from her recently completed PHD the architectural potential for fabric formwork â&#x20AC;&#x153;Fabric Formwork- Concrete, as Material and Processâ&#x20AC;? Essentially the prototype must then be understood as the formwork, the process, and the concrete object, and the contribution discusses the future of industrialised concrete architecture by emphasizing the prefabrication of intelligent, and lightweight moulds as an alternative to heavy and dumb concrete elements. Through the work undertaken in her PHD Anne-Mett has acquired a great understanding of her medium thus allowing MARS including myself the opportunity to help create this prototype.

Above Left: High tension fabric with light weight timber fromwork to help give a small ammount of stability Centre and Below Left: Three pronged rebar inserted into concrete base to optimise support and connect the formwork to the plinth once set. Continuation of the rebar upwards from the plinth, that has further rebar wrapped around the aid stability all the way up. Top right: the most important apect of the assembly, cutting and fitting the fabric formwork to make sure each column is even. Centre Right: The fabric formwork is in palce and is ready to have the concrete poured. the Laser cut cap is just to guide pouring. Bottom right: The first concrete pouring, it is vital to make sure the concrete is getting in to all parts of the formwork as to reduce air pockets the cause blowouts.

Photo By:Hallett, Hathaway & Stanforth 26

Above Left: The concrete is massaged into the formwork as it is poured. This has to be a quite volitile movement to make sure the concrete will set evenly. This process is undertake all the way up the formwork.

Left: As the Formwork becomes full, smoothing the conctrete top is necessary to gain the required finish

Right:The freshly poured concrete fabric formwork. The process went without a hitch. The formwork should be sweating which is apparent fromthe image. This is good as it means the impurites are being drawn out and the concrete will be left with the required fabric finish

Photo By:Hallett, Hathaway & Stanforth 28

Left:Having been left for a couple of days the fabric formwork is reomved by Anne-Mette. The formwork has had the required effect in that the concrete has taken on the intricate weaving patern of the material, and has also taken on the slightly uneven, fluid and rippeling effect of the material

Reflection Jonathan Hallett Being able to physically get involved with something as new and interesting as this one of a kind prototype has been invaluable experience. From talking to AnneMette it is clear that her intention is to confuse the viewer with her work. To open up the mind as to the immense boundaries concrete has to offer and what forms it can take. It appears that she thrives in the ambiguity the fabric formwork creates. The combination of the light weight textile and the preconceived heaviness of concrete drives a fascinating and stunning contradiction within itself, an oxymoron if you will.

Right: Success the formwork as been fully removed. And as stated above the concrete has taken on a very freeform, farbric nature.

Anne-Mette conveyed her delight at being able to design, tailor and transport the lightweight textiles formworks to any part of the world. Be it big projects or small projects the fabric can be packed in her suitcase without the inherent heaviness of solid formwork or concrete. Demonstrated with this prototype, as she brought all of the fromwork with her in her hand luggage. The experience has really opened my eyes to the simplicity and effectivness of this type of concrete casting. There is something inheriently beautiful and poetic in the intertwining of these extreamly contrasting materials. The stitches, the seams the complete adoption of the fluid, fibrous identity the Photo By:Hallett, Hathaway & Stanforth 30

concrete takes on is an aspect of design that I would like to experiment with in my thesis. Wether this is through adoption of the theoretical side utilising the poetics and theory surrounding fabric formworkor the litteral eploration of using fabric formwork as a structural element within my thesis design.

Top Left: Ply wood form work coming together with over lapping edges to create sharp corners. A 19mm shaddow gap left at the base to create a cleaner junction where the plinth meets the floor

Centre: To save on material and overall weight the centre of the plinth is filled with Polystyrene and surrounded with thin wire mesh Bottom Left: The ply wood cast is filled gradually. Between each pour the concrete is moved around to make sure there are no air pockets that could lead to blow outs

Top Right: The Ply wood form work is eased off and kept as it will be reused for reverse formwork plinths. Due to the pressure the concrete exet on the formwork and the moisture exchange between the wood and concrete the wood grain is left on the concrete.

Photo By:Hallett, Hathaway & Stanforth 34

Concrete Plinth Casting As stated earlier on our input into the prototyping hall was not soely based up on interacting with the exhibits. One of the biggest tasks of being involved in the hall was casting the concrete plinths for the exhibits to stand on. Having done very little in the way of concrete casting this activity became very insightful. The process included preparing and fixing the plywood formwork together, whilst leaving a 19mm boarder at its base to allow for a shaddow gap. Filling the formwork with Polystyrene to reduce the ammout of concrete need to fill it and reduce the overall weight. However insignificant this process apperars in terms of exhibition its self, it gave me a greater understanding of the process that goes into creating a scuccessful concrete cast. 35

TRADA Pavilion Leg Prototype- Ramboll UK Left: Completed Trada Prototype Leg demonstrating the most efficient position for the standard hinges to be placed in order for the structure to be able to transfer its load directly to the floor.

The Trada Leg is a prototype section of the Trada pavilions which is based on the numerical idealisation of a form found surface as inspired by such architects as Gauudi and Frei Otto. This numerical idealization had been parametrically and algorithmically dissected and reconstructed to allow this planar surface to become flowing double curvature surface. The parametric algorithms identified the most efficient position for the standard hinges to be placed in order for the structure to be able to transfer its load directly to the floor, reducing the inherent stress between the flat panels. The parametric modeling tool enabled the working drawings to be directly inputted into a CNC routed. The router reproduced every hinge hole, contour and bolt hole of the model, allowing for rapid assembly as demonstrated on the following four pages.

Next four Pages: Build assembly in the prototyping hall.

The purpose of the prototype was to act as the final 1.1 test to see if the physical model would mirror the structural behavior of the parametric model. This would allow any potential structural errors to be detected that the modeling tool had not accounted for during the design process.

Loblolly House Prototype-Kieran Timberlake Positioned between a dense grove of loblolly pines and a lush foreground of saltmeadow cordgrass and the bay, Loblolly House seeks to deeply fuse the natural elements of this barrier island to architectural form. The timber foundations serve two purposes, one being ‘poetic’ justification as the house seeks to become one with its surrounding context, as North, South and East elevations address the forest. The second purpose is a pragmatic justification, as Kieran Timberlake seeks to minimize the impact the Loblolly house has on the frost floor, if the loblolly house was to be disassembled and moved it would be as if the house had never been there. The design of the staggered vertical rain screen was literally composed over a site photograph to evoke the abstraction of solids and voids of the forest wall. The embodied energy of the Loblolly House is perversed by the easy disassembly and reassembly of its essential elements. The disassembly and redeployment potential is evident in the detailing and quality craftsmanship of the energy intensive scaffold, blocks, cartridges, and service spines. This ensures a design-for-disassembly strategy where the components with the highest embodied energy can be disassembled and redeployed with a minimal loss of energy. ‘Loblolly House is not only a statement in favour of a more ecological approach, it is an essay in prefabrication demonstrating Kieran Timberlake’s engagement, with craft, with industry and with manufacturing. The new techniques they utilise includes, scaffolding, grand blocks and cartridges….Loblolly House gains its authenticity from the integration of space, structure and layered environmental systems.’ Professor Michael Stacey, Introduction, in Kieran, S., Timberlake, J., eds. Loblolly House: Elements of a New Architecture. Princeton Architectural Press, pp.10-11. 42

Left: Shipping crates that contained the individual parts of the explanitory Loblolly Prototype

Right: assembly of the roof panel.

Left: Shipping crates that contained the individual parts of the explanitory Loblolly Prototype

Right: Instillation of the insulation into the roof panel

Left: assembly of the roof roof panel.

Right: Finished view of the connection between extruded aluminium prefabricated frame and varying elements including window panel. 45

Review Benjamin Stanforth The second main assembly project I was involved in was the assembly of the Loblolly House by KieranTimberlake Architects. The assembly consisted of an explanatory prototype that shows how the different elements of the house slot into the prefabricated aluminum frame. The overall assembly was split into a number of stages that allowed for the whole of MARS to take part at one stage or another; I was involved in the initial stage. This consisted of the assembly of the prefabricated extruded aluminum frame. I was expecting the assembly to be straightforward, as the individual aluminum pieces had been prefabricated and thus I expected the tolerances to be minimal creating clean assembly joins. However, it proved difficult and it was only down to the help of Peter Curry, KieranTimberlake Architects that the assembly went so smoothly overall. The prefabricate aluminum extruded sections had to be slotted into two sections simultaneously, with both fixings having adjustable nuts it was difficult to get both fixings in the correct positions in relation to one another. Assembling the six small aluminum extrusions to the main aluminum section took around three hours, and this was the time taken with a specialist architect, we were very appreciative of his help.

Left: Full view of the finshed assemble

Autarki 1:1-Jasper Nielsen, Nikolaj Friis, Cinark Autarki Autarki 1:1 is a pavilion made from cross laminated timber which was erected at the Royal Danish Academy of Fine Arts â&#x20AC;&#x201C; School of Architecture in Copenhagen in the autumn of 2011.

Right The Autarki 1:10 model demonstrating the double shel principal to reduce themal bridging

The aim of the project is to investigate solutions which will improve recyclability and reduce the energy consumption of the building by optimisation both the processual and the technical aspects of CLT Using optimized technical processes and intelligent material use they investigated solutions which could improve recyclability and reduce the energy consumption of building. Autarki 1:1 (Greekfor Self-sufficient) is constructed as a passive house with the sun as the main source of heating and natural ventilation as a focal point. By building with a double shell principle the thermal bridges have been reduced significantly, and the homogenity of the building allows for a more simple and sustainable building process. During the autumn of 2012 they will conduct measurements of the buildingâ&#x20AC;&#x2122;s thermal performance. This data will be featured in the exhibition and will be displayed alongside a 1:1 prototype of the pavilion and a 1:10 model. The prototype will display the construction detailing and insulation techniques used while the model will display the overall design form, logic and composition.

Top Left: Screwing the CLT panels together to create a simple screwed butt joint-a very fast process. Centre Left: Measuring out positions for pilot holes for the screws. Bottom Left: Plugging the countersunk holes to remove the visual appearance of screws. Top Right: Sanding down the wooden countersink plugs to a smooth finish. Centre Right: Cutting the recycled wood fibre insulation to size on a table saw. Bottom Right: Affixing high-density wood fibre insulation battens to the CLT panels to provide a thermally broken ventilation gap.

Top Left: Affixing an airtight seal to the ‘Passivhaus’ certified triple glazed unit. Bottom Left: Plugging the countersunk holes to remove the visual appearance of screws. Right: ‘Passivhaus’ certified Autarki 1:1 window seat CLT prototype near completion.

William Hathaway a reflection

The projectâ&#x20AC;&#x2122;s intention was to form a tectonic experiment that would generate a discussion of materiality, manufacturing, comfort and sustainability. Undertaking a hands on role in the fabrication of this prototype gave me first hand experience that this was the case. Not even five minutes into the assembly of the mock-up many of my peers started questioning and debating the principles of CLT and its modern usage. One could therefore consider that some of the projects key goals were achieved prior to construction of the prototype even completing.

Having always had a fascination for experimentation, craft and making meant being involved with the Prototyping Architecture Exhibition was of great personal interest. Playing an active and prominent role in the realisation of a large number of the pieces on display meant the whole process of curating the exhibitions was tremendous rewards as well as being academically stimulating. The sheer range and breadth of the work exhibited meant I gained great exposure to a whole host of very different architectural approaches, strategies and concepts. The international presence of some of the exhibition further emphasised this. My role was very broad and had me dealing with numerous different collaborators and individuals who all played a vital part in the culmination of the final exhibition. In term of making I also undertook a wide number of projects from the design and fabrication of the lighting rigs, the development and construction of the concrete plinths and the assembly and construction of a whole collection of exhibition pieces. On reflection of my involvement in the exhibition there are two pieces, which stood out for me through the process and which I was particularly pleased to have been involved with. The first being the construction of Anne-Metteâ&#x20AC;&#x2122;s Fabric Formwork column from CINARK and the other the Autarki 1:1 cross laminated tiber (CLT) pavilion prototype also from CINARK in Denmark. I was especially fond of my involvement with these projects as they were both distinctly tectonic. Both pieces exuded a sense of quality, richness and durability that one would expect from architecture. 54

Another of the aims of the prototype was to highlight CLT as a potential building material that was both innovative in its use of industrialised production but also instilled with a richness and atmospheric quality other contemporary construction systems lack. Having worked with the cross-laminated panels the richness and poetic quality generated by the material was undeniable. It presented itself as a material that is more than just a technical solution. This is an area where I feel far more should be done to raise the profile of the use of CLT from that of a technical element to an architectonic element. Top Left: Fabrication of lighting rig. Right: Construction of concrete plinth for Yves Ebnother with lightweight mesh reinforcement. Bottom Left: Removal of ply formwork revealing amazing texture on Qubiss Air concrete plinth.

From a personal perspective being involved in such a tectonic and haptic production process was enormously rewarding. Having studied the use of CLT in residential dwellings during a previously studio gaining hands on experience with itâ&#x20AC;&#x2122;s materiality was enormously rewarding. Though of the advantages and strategies of the use of CLT had been considered beforehand it was only once I had a tangible interaction with the material at 1:1 did I begin to fully understand these aspects.

William Hathaway a reflection (cont.)

My time preparing the exhibition has taught me that there is no better substitute for the learning about materiality and processes than to gain practical experience at 1:1 scale construction. I gained an invaluable amount even on a topic where I would have previously considered myself knowledgeable.

Another positive part of working on the CLT pavilion was the collaboration with CINARK’s researcher Nikolaj Caallisen Friis who had travelled from Denmark to be part of the exhibition. Working together on the production process was a great opportunity to tap into his wealth of knowledge in both CLT and the wider architectural field. It also presented an opportunity to gain an insight into how architecture is approached and understood from a northern European perspective. This area of conversation was of particular interest to me with our MARS studio field trip to Helsinki, Finland scheduled for the following month. Dealing with timber and its inherent richness meant the fabrication of the Autarki 1:1 Prototype was tremendously pleasurable process. I was able to use a number of hand and power tools which afforded me the chance to gain an intimate understanding for the tolerances and ability’s of the material as well as develop a number of skills. The tangibility between the hand and the construction process really intrigues me and is an area I may wish to investigate further in the future. The ease of assembling the Autarki pavilion placed me in no doubt of the qualities and advantages prevalent with the use of CLT as a constructional strategy. Although I was aware of the time saving involved with CLT prefabrication I simply hadn’t appreciated it.

Right: CINARK’s Autarki 1:1 display. Bottom: Protoyping Exhibtion hall east.

As such though I had always been an advocate of cross-laminated timber I left the exhibition with an enormous sense that I had greatly underestimated the material. With that in mind for the benefit of many potential clients, the industry as a whole and the environment it is a shame more people are not able to gain a hands on and therefore insightful experience with cross laminated timber. This would go some way in dissuading the negativity of number of the material’s more conservative critics. In conclusion I feel my time with the exhibition was one of tremendous personal development. I believe a lot of the ideas, techniques and processes presented during this offer architecture a great deal some of which were truly unique. As such I shall await with anticipation any developments in these areas for there may come a time that I am fortunate to pick up some of the themes addressed herein.

Protocell Mesh- Philip Beesley Architect Inc. The Protocell Mesh project integrates first-generation prototypes that include aluminium meshwork canopy scaffolding and a suspended protocell carbon-capture filter array. The scaffold that supports the Protocell Mesh installation is a resilient, selfbracing meshwork waffle. Curving and expanding the mesh creates a flexible hyperbolic grid-shell. The meshwork is composed of flexible, lightweight chevron-shaped linking components. The chevrons interconnect to create a pleated diagonal grid surface. Bifurcations in mesh units create tapering and swelling forms that extend out from the diagrid membrane, reaching upward and downward to create suspension and mounting points. Floating radial compression frames provide local stiffening and gather forces for anchorage.

Right Beasley ProtoCell Meshwork, The object in focus has been described as a sent gland. The glad releases the perfume like smells created during the reaction betwen the chemicals forming the protocells

Arrayed protocells are arranged within a suspended filter that lines this scaffold. The array acts as a diffuse filter that incrementally processes carbon dioxide from the occupied atmosphere and converts it into inert calcium carbonate. The process operates in much the same way that limestone is deposited by living marine environments. Within each cell of the filter array, laser-cut Mylar valves draw humid air into a first chamber of concentrated sodium hydroxide. The solution enters a second chamber containing waterborne vesicles suspended between upper and lower oil layers. Chalk-like precipitate forming within these vesicles offers an incremental process of carbon fixing.

Far Left: Individaul Aluminium components that fit together. Left: Aluminium components being assembled to for a petal of the Lillys.

Far Left: Further assembly of the aluminium mesh work. Left: A completed 6 petal Lilly ready to be hug

Far Left: These elements have been refered to by Philip Beesley as weeds. They are full of salt that aids the formation of the protocells. Left: Mixing of chemicals to form the protocells

Surrounding the active flask arrays is a grotto-like accretion of suspended vials containing salts and sugar solutions that alternately accumulate and exude moisture, contributing to a diffusive, humid skin. Scent glands act as lures to encourage occupation of this synthetic aerial soil. The Protocell Mesh project builds upon component systems that have been developed within the Hylozoic Series, a collaborative project that is pursuing nearliving architectural systems combining lightweight flexible structures, interactive distributed computation and protocell metabolisms. The series integrates research from the Universities of Waterloo, Nottingham, and Universitet Syddansk.

Far Left: The Aluminium and perspex Lillys being hung and joined to gether to from the structural mesh work. Left: Arrangement of what Philip Beesley describe as â&#x20AC;&#x2DC;The array acts as a diffuse filter tat converts carbon dioxide in to calcimum carbonateâ&#x20AC;&#x2122; Right: Assembly of the Grotto like surround

Reflection Jonathan Hallett The Philip Beesley installation was a major part of the prototyping exhibition, like Anne-Mette is was a first generation prototype that had never been assembled before. We have included the installation in this report do to its prominence, however we were unable to get a lot of hands on experience as a specialist team had volunteered during the summer to work the installation. Despite this we were occasionally able to help out. Even though I gained little experience from working on the installation I still have opinions on it, although these opinions lack the full knowledge of project. Philip Beesley and his team are extremely skilled in the theory of this particular field of experimental architecture, and the structure they created is visually fantastic. Although I find myself asking the question how does this translate to the world of architecture? This question was posed by William Hathaway (co writer) in a lecture Philip Beesley conducted on the theory behind his installations. His answer seemed slightly tenuous in terms of the link between the installation and the world of architecture. He describes the link as an opportunity to develop a multi layered faรงade system that can live breath and respond intimately to each user. This I believe is a possible connection but the rational is a long way from being realised.

Graphics- MARS. Myself and Andrew Tindaleâ&#x20AC;&#x2122;s (MARS 2011) main responsibility throughout the preparation for the Prototyping Architecture Exhibition was the design and implementation of the exhibitions graphics, this ranged from the main task of designing image boards, relating to each individual Prototype exhibited, the production of the exhibition guide, poster production and the creation of information screens located within the exhibition. At the out set I expected the task to be straight forward, I understood that the images and text information that was required to go onto the panels had been sourced and stored on the projects Dropbox, but this was not the case. The task expanded, liaising with the designers, architects, academics and artists of the exhibits, to source non-copyrighted images and approved text for insertion onto the exhibitions image boards.

The short time frame from the start of this task to the printing deadline created a rush for the collection of these images and text. Once all images and text were collected several trips to the printers was required to discuss the materiality and finish of the final image boards. It was finalised after a number of conversations that the images boards were to be printed on 3mm and 5mm foamex. The stage backdrop was also designed and printed; this 3m x 3.3m canvas banner was at centre stage on the private opening of the exhibition.

Benjamin Stanforth a reflection

Being involved in the set up of The Prototyping Architecture Exhibition 2012 was both an exciting and academically stimulating experience. The combination of making, research and graphical presentation, all elements that are important as an architect, were encompassed as part of this experience. The wide range of prototypes that were being exhibited at the exhibition provided insight into varied approaches into architectural design. Exhibits varied from the Phillip Beesley, Protocell Mesh that was assembled on site to the Zoid Stoll by Yves Ebnรถther Industriedesign, from the handcrafted to the digitally crafted. As well as being heavily involved with the graphical production, I was able to be involved with a number of the exhibits that were created or assembled on the exhibition floor. The first was Fabric FromworkAnne-Mette Manelius, of Cinark, this poetic sculptural concrete column was a first time prototype that was completely fabricated within the exhibition space. It was eye opening to see the process from start to finish, the juxtaposition of material and formwork and the contrast between these two elements creates something that appears to be so soft but in fact is quite the opposite. The physical work required to mix and pour the concrete from the top of the column down into the bottom was a strenuous task, while this was occurring it was essential that the concrete be massaged to ensure that the concrete reached the centre of the column and was forced in behind the timber. This massaging created great friction, which bore holes in the protective gloves I was wearing. This direct contact with the material was inertly satisfying and enjoyable; this primitive act of making and learning through making provided me with an alternative knowledge stream. 70

The anticipation when removing the soft fabric formwork and revealing the contrasting hard concrete was high, the success of the prototype proved that this formwork that provides a hands on craft is adaptable, transportable and sustainable as the formwork can be reused again and again. It was a great experience that allowed me to work hands on with a second full scale prototype, but with complete contrast to the craft of the fabric formwork, the digitally prefabricated Loblolly House provided an example of precise design can create an architecture that is standardized and prefabricated but still site specific, evocative in composition and emotive in materiality and spatial layout. The experience of the whole Prototyping Architecture Exhibition was insightful as the research into each prototype gave me a wholesome understanding of the exhibition allowing me to understand and develop critical knowledge regarding the different prototypes. This knowledge gained combined with the experience I had through making a number of the exhibits, Fabric Formwork and Loblolly House, gave me a balanced skill set regarding the making and administration behind the set up of an international exhibition.

Right: The Marking Architecture Research Seminar Unit infront of The Protocell Mesh with Prof. Michael Stacey (centre) and Nikolaj Friis, Cinark (far right)

MARS Studio

between drawing & architecture

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Jonathan Hallett southwell drawings

We were given the opportunity to take part in a Sketching workshop run by Francis Stacey a Fine art graduate from the University of Edinburgh, She is also been the curator of many fine art exhibitions. During the day spent at Southwell Minster a Cathedral in Nottinghamshire, Francis Stacey got us to partake in several drawing exercises aimed at increasing our ability to convey architectural information, also encouraging us to be free with our drawing style. The first exercise entailed a 30 to 40 minute sketch of a part of the cathedral. This was aimed as a warm up but also a chance to show the way we sketch and represent the information we see.

Right: 30 min sketch of supporting columns Hallett

The second lot of exercises included many one minute sketches, forcing us to sketch quickly and to represent the most important information of the object we were looking at. This really did for us to be very free with our technique and to draw quickly. Many of us found that this technique produced some very interesting and satisfying results. The one minute sketeches then moved in to slightly more unkown territory for may of us. As we were then asked to produce a two handed drawing where by both right and left hand had to draw independantly of each other. This was intresting as many of the group found that they were unable to draw independantly with each hand but were tending to mirror the left hand on the movement of the right. The next exercise had us sketching by only looking at the object and not at the paper. Again this yeilded some interesting responses. This exercise was aimed at producing an inaltered explicit representation of what we saw. The last exercise was a longer 50-60 minute sketch of a different perspective view. However this sketch was no different in terms of technique from the first longer sketch.

Below: 1 minute sketch of spring columns

Below: Two one minute sketches of alternative spring columns

Previous page left: two one minute sketches

Previous page left: 50 minute sketch

Left: one mintue sketch not allowed to look at the page

Desptie having done all the sketching exercises the last longer sketch was very similar to the first. I believe in the future our sketching would benefit from the inclusion of more of the techniques we used during the exercises. These exercises forced us to make subconscious decisions and created a more intimate connection between the hand and the pencil rather than drawing, analysing and editing sketch as it is being produced.

William Hathaway southwell drawings

Left: Initial perspective sketch undertaken upon entry to the Minister Drawn by William Hathaway Top Right: Sketch undertaken in five minutes without looking at the piece of paper. Drawn by William Hathaway Bottom Right: One minute tonal study - window detail. Drawn by William Hathaway

Left: Tonal study undertaken in fifteen minutes. Drawn by William Hathaway Top Right: minutes.

Sketch

undertaken

fifteen

Drawn by William Hathaway Bottom Right: Two sketchs undertaken in one minute. Drawn by William Hathaway

Left:Sketch undertaken in five minutes with both left and right hand simultaneously. Drawn by William Hathaway Top Right: Sketch undertaken in one minute personal study. Drawn by William Hathaway Middle Right: Sketch undertaken in one minute - chapter house table interaction study. Drawn by William Hathaway Bottom Right: Sketch undertaken in one minute - chapter house table study. Drawn by William Hathaway

Left: Tonal study undertaken in forty minutes. Drawn by William Hathaway Top Right: Two sketchs undertaken in one minute. Drawn by William Hathaway Middle Right: Perspective sketch undertaken in five minutes. Drawn by William Hathaway Bottom Right: Fifteen minute decorative arch detail study.

sketch

Drawn by William Hathaway

Benjamin Stanforth southwell drawings

top left Sketch undertaken in five minuets with both left and right hand simultaneously Drawn by Benjamin Stanforth

right Sketch undertaken in one minuet - window detail Drawn by Benjamin Stanforth

bottom left Sketch undertaken in five minuets without looking at the piece of paper only the subject Drawn by Benjamin Stanforth 92

right Sketch undertaken in one minuet - family study Drawn by Benjamin Stanforth

right Sketch undertaken in one minuet - window detail Drawn by Benjamin Stanforth

right

Sketch undertaken in one minuet - window detail

Drawn by Benjamin Stanforth

Drawn by Benjamin Stanforth 95

top left Sketch undertaken in one minuet - chapter house table study Drawn by Benjamin Stanforth

left second down Sketch undertaken in one minuet - top of chapter house seat detail Drawn by Benjamin Stanforth

left third down Sketch undertaken in one minuet - chapter house seat detail Drawn by Benjamin Stanforth

bottom left Sketch undertaken in one minuet - column detail Drawn by Benjamin Stanforth right Sketch undertaken in one hour - view towards the choir screen Drawn by Benjamin Stanforth 96

MARS Studio

between architecture & the field - Helsinki

hallett 98

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between architecture & the field - Helsinki

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between architecture & the field - Helsinki

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Introduction

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Academic Bookstore

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The Aalto House / Aalto Studio

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Finlandia Hall

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Paimio Sanatorium

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S채yn채tsalo Town Hall

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Aalto the Humanist

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introduction

The field trip to Helsinki, presented the opportunity to view a selection of one of the most renowned architects of all time, Alvar Aalto. Aalto was on of the most influential designers in the modern movement, he produced buildings starting at a very young age when compared to other architects. He was an avid designer and designed many buildings that nestle themselves in contrasting styles. Aalto’s early buildings are classical in style, the Worker’s Club, Jyvaskyla (fig …) ‘is a typical example of…Aalto’s early work in his home town in which he first practiced: a working-men’s club, built in 1925. The accommodation inside - a meeting-room above and a restaurant below - is clearly expressed on the exterior, and the sharply punctuated wall-surfaces echo some international fashions of the 1920s. These reveal an urge towards modernism which the superficial neoclassical treatment goes some way to disguise.’

Paimio Sanatorium Hathaway, Hallet & Stanforth Alvar Aalto, Alva Aalto: image courtesy alvar aalto foundation [Online], Available: http://www. designboom.com/history/aalto/bio.html

Worker’s Club, Jyvaskyla, Finland Alva Aalto: image courtesy alvar aalto foundation [Online], Available: http://www. GreatBuildings.com/cgi-bin/gbi.cgi/Workers_ Club.html/cid_1131184017_WorkersClub.html

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Academic Bookstore - Alvar Aalto a study

The academic bookstore (1962 - 1969) was the first Aalto building we visited on the filed trip. Following on from fifth year studio studies into Sustainable Urban Buildings (SUB) this was an interesting start. From first view the buildings modern language was not a stark contrast to the other surrounding architecture with obvious elements for example the window proportions fitting in with ajoinging facades. Finland being a relatively young country has a young architectural style,

This was the first experience of seeing Aalto’s humanistic approach to architecture, detailing right down to the human scale of door handles, handrails and light fittings. ‘Externally the building is a relatively straightforward copper-clad curtain wall. The brighter character of the Pohjois-Esplanadi is recognised by lining the window frames with strips of white marble. The two entrances off either street converge under an array of light fittings, from which leads the three-storey space of the bookshop tucked in behind other buildings. Three crystalline rooflights bring light into this volume, and indeed appear to have embedded themselves in the roof. The vertically striped balustrades of white marble seem to attenuate the height of the space and dominate the colourful display of books.’

Academic Bookstore, Helsinki Hallet, Hathaway & Stanforth

w Paris Advertisement, 1912

vailable: http://www.amazon. -Gillow-Advertisement-Bruxelles04ER74I6.

Second Helsinki

Floor

Plan,

Academic

Bookstore,

[Online] Academic Bookshop, by Alvar Aalto, at Helsinki, Finland, 1962 to 1969 (20 Nov 2012) 106

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Internally the white marble, which Aalto used on the majority of his architecture, makes an appearance on the oversized balustrades, as the section height increases so does the height of the balustrade. Once on the second floor the balustrade dominates the vista across the floor and due to its height morphs into the back of the shelving for the books (Fig …).

However, Chareau’s proximity to mainstream design can be determined by the fact that he was invited only three times during ten years to exhibit at the Société des Artistes-Décorateurs. This lack of acknowledgement can be seen that Chareau’s beliefs and ideas differed from the mainstream at this point. This difference in ideals created friction and the split to form the French Union of Modern Arts (UAM) along with around twenty dissidents from the Société des Artistes-Décorateur. Robert Mallet-Stevens led the UAM, which included Contemporaries such as Le Corbusier, Jean Charles Moreux, and Eileen Gray. The UAM offered a strong alternative to the traditional Société des Artistes-Décorateur, it strove for progression and forward thinking breaking from the past and what had been before.

Right: View from Bookstore, Helsinki

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floor,

Academic

Hallet, Hathaway & Stanforth 108

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Academic Bookstore - Alvar Aalto a reflection - Stanforth

This was my first experience viewing a building designed by Aalto, on approach I felt like the building suited its context, Aalto uses a Copper curtain walling system and acknowledges the main façade by lining the window frames with marble, I believe this is also a poetic notion to the Finish vernacular. The proportion and size of the windows are the same as the elevation rises; the windows align with the elevation of the adjoining building aiding its contextual grounding. The large rectangular windows are proportioned in such a way that Aalto has included the manual horizontal ventilation panels in between each window, internally the ventilation panel is opened and closed on the window reveal thus leaving the whole window unobstructed allowing the maximum amount of light into the bookstore. Closer up the architecture expands out into the street, a row of streetlights highlight the main Bookstore entrance, giving users an easy sign to which is the front of the building. On entry to the bookstore I was met by four large doors, two entrances and two exits, with three handles at varying heights, this gives the user the decision and the opportunity to use a handle at their preferred height. Once passing through the first door one is met by a metal grid that has footprints on – this could be to make it easier for woman wearing heels to pass across but this seems unlikely as the spacing of the footprints are at a considerable distance apart, I feel this is more of an attempt for the architecture to once again extend its self to the user and Aalto has worked at a small scale once again to humanize the building providing a ‘warm welcome’ to the user.

noticed was the large marble balustrade paneling that hung down below the floor plate, emphasizing the open space and encasing the spaces around the edges almost creating separate rooms on the first and second floor. The piercing roof lights provided a stark contrast to the order of the rest of the design. While in the store I could not think of anything else apart from stalagmites piercing through the structure of the roof. As we visited during the hours of darkness I did not get to appreciate the natural lighting however, I can imagine that light floods through particularly in the summer months bathing the top-lit space and the books below in wonderful light. When on the first floor the marble paneling is at the height you would expect to find a balustrade, around 1100mm, however when on the second floor the balustrade is up to around 1500mm. This height acts as the backing for the books on the top floor looking down over the atrium and sections off the top floor from the top-lit space. Overall I was impressed with the building’s contextual sitting, the consideration given to the surrounding context, and the humanistic focus towards the user with the varying height door handles to the operable window vents that did not detract from the amount of light allowed into the building. Benjamin Stanforth, 2012

Upon entrance into the bookstore the first thing I 110

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The Aalto House / Aalto Studio - Alvar Aalto a study

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The Aalto House - Alvar Aalto a study

“My friend - you do not know what you are talking about. God created paper for the purpose of drawing architectural designs. Everything else is - at least for me - a misuse of paper”, wrote Alvar Aalto in a Finnish architectural magazine in 1958.

Right: Entrance to Aaltos Home Alva Aalto foundation and Photographers

‘The only proper goal of architecture is: build naturally. Don’t over do it. Don’t do anything without good reason. Everything super fluous Turns ugly.’ As a pioneer of the modern movement and the alternative modern movement (humanist) this statement was never more obvious than in his beautifully designed residential and office building Riihitie. These parameters create a house that is a masterwork in clean lines and simple complementing materials, to form an architecture that is greater than the sum of its parts. By working inherently to this set of rules, it is hard to believe when observing the house that is was built back in 1936. The Riihitie House is situated overlooking the Eliel Saarinen cadet training facility in Munkkiniemi, Helsinki. The surrounding area of the site was relatively untouched at the time Aalto built the Riihitie. From the roof terrace you could still see the sea. Aalto believed in connecting his architecture with nature, especially with trees, Riihitie was no exception. At the time the house was built, the hill on which the house sits was a pine forest. Aalto manipulated his architecture to play off the trees and vice versa. In the present day the immediate trees around the Aalto house still stand, however the increased development of Helsinki during the 1960’s has removed nearly all of the pine forest. 114

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So now you have to use your imagination to envisage Aaltos house the way it was originally intended. The Riihitie house is now functioning as a museum. It has been restored internally and externally to its original standard, and has been under the Protection of buildings act since 1982. Surprisingly enough the house was still in residential use right up until 1998 when It was purchased by the Alvar Aalto foundation. One of the more interesting aspects of Aalto’s private home was that it also served as the office for his architectural practice. The house consisted of two wings. The West wing was for his architectural studio and the East wing a single family home, linked by a ‘Secret stairway’ and a sliding wall.

Below: Elevation Riihitielle 1937 E.M

Right: Site Plan 1937 E.M

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Top Left: Aalto Studio in his home. Showing the main studio and the 1st floor studio gallery used for storing working drawings. E. &.P.I Below Left: Roof Terrace buffer zone between 1st floor studio and first floor family rooms. 2002 M.H.

Below Right: 1st floor plan showing how the roof terrace (n) acts as a bufffer zone between the studio on the right and the Living space on the right Alva Aalto foundation and Photographers

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The architectural practice was designed as a twostorey volume, containing one large studio space, 1st Floor studio gallery used to store the drawings they made, a 1st floor drawing room and one small office library. The family aspect of the house was also divided into two groups. The first floor forms a group of private rooms intended for only family use. Consisting of a small lounge area, a bathroom, three small bedrooms and one master bedroom. The roof terrace acts as an interesting buffer between Studio and Private space.

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Top Right: Ground floor plan Alva Aalto foundation and Photographers

The ground floor layout similarly uses this buffer aspect between Public (studio) and Private space, by utilising a movable wall which was influenced by Aaltos trips to Japan. The wall divides the Studio space and the main living room. The Kitchen and Dining rooms complete the ground floor. Aalto believed that one of the most important aspects of a family home was the use of natural light. Subsequently the house was designed with orientation at its forefront. The Orientation of the terraces, the positioning of the West facing studio windows, the south facing living spaces, the shelters of the elements etc. were all considered and tested.

Below: The Japanese ispired sliding door that can be sut to seal off studio from living room. 2001 M.H.

Below Right: South east elevation 2002 M.H.

This rigorous planning combined with a very changeable climate drove Aalto to be creative in terms of unusual construction methods. ‘ The vertical, load bearing is partly of brick, but mostly of steel columns, both I-section and circular. The eastern and south facing facades are constructed using timber elements wedged into precast groves in the concrete’ This method was used so that the insulating properties of the concrete could be altered from summer to winter months by removing the timber elements from the pre cast groves. The cantilevered floor slabs are fully encased insulation, this is method used today to reduce cold bridges in passivhaus balcony construction. ‘ Intermediate slabs are insulated with light weight aerated concrete.’

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Aalto Studio- Alvar Aalto a study

‘An architect’s studio should provide both peace and quite for the individual and the possibility of group work…..Turning its back on the street in almost Oriental fashion, it opens instead onto an intimate inner garden which rise, amphitheatre-like, and thus can also serve as an orditorium’

Top Right: Aalto Studio Hallett, Hathawa& Stanforth

Alvar Aalto, Arkkiehti no. 12, 1959 As Aaltos practice became more popular and the amount of work was becoming insurmountable. Aalto took the decision to build a purposely-designed studio. Aalto designed the studio within walking distance from his home in Mukkiniemi. The studio is widely regarded as one of the very best of Aaltos architectural project.

Bottom Right: Main entrance to Aalto Studio Hallett, Hathawa& Stanforth

The Studio was insular in design; the focus was centered around a remarkable courtyard, that is designed as an amphitheatre. This central space was used for lectures and presentations. Aalto was a great believer in creating an environment that actively encouraged group oriented work, and this element at the heart of the studio compounds this belief.

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Above: Centre amphitheatre Aalto Studio Hallett, Hathawa& Stanforth

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Left: Aaltos personal Office Studio, used for group discussion and displaing models. www.bahighlife.com/Destinations/City-guidestylish-Helsinki.html?PageNumber=2

Bottom Left: Staff Studio www.mimoa.eu/images/8937_l.jpg

Below: Confoerence room slanting bay window www.birogasperic.com/scrapbook/alvar-aalto

The main internal space revolves around the large curving studio, which looks out on to the central courtyard. This studio is where Aalto himself worked, it was known as his office. The staff studio sat adjacent to it. An interesting aspect of this arrangement is that Aaltos office was where models would be displayed. Timber battens were fixed to the high walls to allow drawing to be viewed and discussed. This is important as shows how involved Aalto wanted to be in all projects, that he would want group discussion to happen in his studio. This in turn breaks down the hierarchy of spaces bridging the gap between staff and employer. There is a slanting bay window in the conference room that allows drawings, models, chairs designs to be viewed in near perfect conditions. The Studio, like Aaltos home and his many other projects displays his desire for interaction between man and nature, this aspect is especially clear from the inclusion of the external amphitheatre. The office was functional until 1994 despite Aalto passing away in 1976. The studio like the Aalto home is now property of the Alvar Aalto foundation. The Studio is kept as a museum where some 200,000 working drawing are now kept, along with several priceless prototype chair designs that never went into production.

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The Aalto House - Alvar Aalto a reflection - Hallett

Where as Aalto’s take could be referred to as ‘alternative modernism’ or ‘romantic functionalism’ as mentioned earlier, where by the same stripping back of ornamentation occurs but Aalto looks back to traditional materials to from his architecture. Like Chareau, Aalto designs all of the interior fixings and furniture in his architecture. So despite having not met or discussed architecture both architects show a definite movement towards a humanism approach, despite having different takes on modernism.

The visit to the Aalto house and studio has given great insight into the working mind of Alvar Aalto. Arguably the House and studio is some of his best work. From the visit it is easy to see the romantic functionalism that Aalto employed within his architecture at the time. The house is an amalgamation of simple local materials and clean lines assembled in a semi rough fashion. The house really does resemble a timeless Finnish Farm house. One comparison that I cannot help but make is between the Alvar Aalto house and the Maison de Verre. (between furnitutre and architecture – rooms and chairs, Hallet, Hathaway & Stanforth). The area of comparison I refer to is the way both architects have a had to incorporate a live work aspect at the heart of the program. I believe that the Maison de Verre deals with the programmatic work aspect a lot more rigorously in plan than Aalto’s House. Aalto’s home/studio appears to be a house with a studio attached whereas the Maison de Verre is a more intellectual approach to incorporating the work aspect fundamentally into the architecture. However, this could be due to the fact that Chareau is dealing with a very delicate matter of a gynecology doctor’s practice where privacy is paramount. Aalto’s colleagues are often referred to as an extension of his family; therefore the rigorous planning of privacy and separation of realms is not as paramount. The approach by Pierre Chareau was very modernist, where by there is a stripping back of ornamentation and the use of cutting edge materials. Leading to a definite break away from the classics, however there is also an extreme humanistic approach where the Maison was completely bespoke to the users needs. 128

Below: Timber slats creating emphasising the continuation of the wall, Studio, Alvar Aalto

I do not intend to say that one is better than the other as both pieces of architecture for me are fantastic. I just believe that there is a very interesting comparison to be made as both architects were operating at the same time during the same movement in architecture.

Hallet, Hathaway & Stanforth

Below: Internal view of Aalto’s House and studio, corner window of the studio, Studio, Alvar Aalto Hallet, Hathaway & Stanforth

Despite the previous description of Aaltos purpose built studio, we were unable to get a tour around the inside of the building, which was a real shame. From the aesthetic style of the exterior of the building it was obvious to see that this piece of architecture came later in Aalto’s architectural timeline (1955). I enjoyed that fact that Aalto’s progression from ‘romantic functionalism’ to ‘Modernism’ was so apparent from just a short walk down the road. The studio is very much in vogue for the time it was built, very in keeping with the works of Corbusier and Mies van der Rohe with its white walls, minimalist ornamentation and its use of ribbon windows. The most enjoyable part of the exterior of the building for me was the amphitheater. Standing in the space there is defiantly an aura embodied into it. I do not know whether this comes from the fact that the 129

surroundings are beautiful and the architecture is stunning or that you can just imagine presentations, architectural discussion and debates that would have taken place when designing such iconic buildings as Finlnadia Hall or SĂ¤ynĂ¤tsalo Town Hall. Either way for me personally the Aalto House and Aalto Studio were a real highlight of the field trip. The architecture seen on this trip will defiantly have an influence on the kind of architectural stance I will take when progressing through my thesis. Jonathan Hallett, 2012

Below: Aaltoâ&#x20AC;&#x2122;s desk at the Corner window of the studio, Studio, Alvar Aalto Hallet, Hathaway & Stanforth 130

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Finlandia Hall- Alvar Aalto a study Left: Finlandia showing acoustic tower Hallett, Hathaway & Stanforth

Since Helsinki became the capital of the newly independent Finland, Aalto was of the impression that Helsinki should build a central monument to reflect Finland’s new independence. The site chosen by Aalto was a disused railway yard, so as to be near the Parliament building. Aalto had a grand plan that was first realized by Saarinen, which was to link the suburbs to the centre of the city ‘Freedom Avenue’.

Left: Finlandia long facade facing the Toolonlahti Bay Hallett, Hathaway & Stanforth

This is where the idea for Finlandia was conceived. Aalto’s intention was to create a cultural core revolving around this grand square that opened at one end to the Toolonlahti Bay. At the head of the square would be the statue Marshal Mannerheim. The square would be flanked by a concert and congress hall (Finlandia Hall), An opera house, art and culture museum and city library. When Aalto was granted planning permission for Finlandia hall, once phase one was complete in 1972, with the congress building not finished till later on, Aalto thought he had triumphed. The main idea of Finlandia Hall with its towershaped part and inclined roof rising over the whole structure was, as Aalto thought, to improve the acoustics of the concert hall by providing a resonance area overhead. The audience would not see it because of the suspended ceiling but it would be capable of creating the kind of acoustic effect that high churches possess. lt is unfortunate that this attempt proved in practice to be partially unsuccessful. Yet, the result still provides us with the visual satisfaction of its monumental exterior. Finlandia casts a unique silhouette on Helsinki’s skyline, as the most prominent design element is its huge tower. The tower was conceived from Aaltos desire to create an acoustic environment similar to a cathedral. However this largely didn’t work, but it provided Helsinki with a truely monumental landmark.

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Left: Scallop Facade, congress wing Hallett, Hathaway & Stanforth

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There is much debate as to whether Finlandia hall is a functional creation, the type of architecture Aalto was famed for or a purely decorative composition. That is if you take the literal stance that functional architecture derives its design purely by its practical functions and structural solutions. The debate is held as to whether Finlandia is a ‘decoratively conceived composition of cubistic forms which constitutes a many faceted whole.’ Although some elements appear decorative but are functional and some appear functional that are purely decorative. For example the Scallop shaped wing of the congress centre appears decorative, due to Aaltos need to join man and nature, the curves are being influenced by the pine trees Aalto wanted to keep and also to break up the huge flat facade. In Contrast the marble façade appears to be a weave signifying Aaltos attempt to link Finlandias façade historically to the origins of building fabric, however it is more likely a purely decorative move derived from his love of Venetian architecture and marble.

Left: Internal, Finlandia, asymmetrical concert hall http://4.bp.blogspot.com/_j8EB-EN_Y3Q/ SlyMRkufdQI/AAAAAAAAD40/HtHl8nUy0rA/ s1600-h/finlandia+hall+1000pix.jpg

‘The main auditorium, is purely asymmetrical and devoid of any right angles, however it is still rigorously designed and controlled through the implementation of considered acoustic walls reliefs and balconies. The foyer lacks physical boundaries and spreads more like an open landscape, Aalto is able to control this space with powerfully designed elements which he had mastered through his career. The foyer extends into the congress centre, which is renowned for its scallop façade.’ ‘ln addition to these general observations, a few words must be said about the preoccupation with detail and the high quality construction work so typical of Aalto. Here in Finlandia Hall these details are stretched to the limit. Every lighting fixture, every piece of furniture as well as all moldings, panels and flooring materials were specially designed and are a result of the experience of Aalto’s long career as an architect.’ Göran Schildt, Ph D Author of a biography on Alvar Aalto

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Paimio Sanatorium - Alvar Aalto a study

Above: Paimio Sanatorium, Alvar Aalto, Paimio Hallet, Hathaway & Stanforth

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Background

Functional architecture. ‘which implies no special value in ornamentation, but in which the exterior faithfully corresponds with the interior’

Aalto first experiments with functionalism came around 1927 while living in Turku, with links to Stockholm a more forward-thinking city than Helsinki. Aalto regularly discussed ideas with Sven Markelius following his return from an extensive trip to the continent during the summer of 1927. These discussions captured Aalto and his imagination, which sparked the publication ‘in December 1927 in Sosialisti, dicuss[ing] housing problems and include[ing] illustrations of Le Corbusier’s Ville Countemporaine.’ Le Corbusier was one of the first Modernists to become known in Finland and flowing a lecture at the Finish Architectual Association presented by Markelius functionalism was brought firmly to the forefront of Finnish Architecture.

Alvar Aalto

‘Markelius represented Sweden in the internations group of architects that formed the Congres Internationaux d’Architecture Moderne (CIAM) in 1928. Pierre Chareau a founder member of this group through his architecture explores functionalism through his master project the Maison de Verre similarities in ideals can be seen between the Maison de Verre and Aaltos functionalism work, (Between architecture and furniture, Hallet, Hathaway & Stanforth).

Below: Alvar Aalto, initial sketch of roof terrace for Paimio Sanatorium. http://www.alvaraalto.fi

While there was initially mixed academic feelings towards the temporariness of Functionalism it took hold in Scandinavia more so then anywhere else on the continent. In Sweden it became part of social policy while in Finland it was used to present a young, progressive and developing nation, ‘Functionalism became the official expression of ‘creative Finland’ for the outside world.’

Left: Ville Contemporain, sketch by Le Corbusier Jstors PDF 140

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Piror to winning the competitions for the Paimio Sanatorium, Aalto designed and entered a project for the Kinkomaa Tuberculosis Sanatorium, he did not win the competition but many of the functional elements of this design carried over into his design of the Paimio Sanatorium. The Paimio Sanatorium was designed due to the increased spread of tuberculosis in Finland between the wars. (See Between architecture and furniture, Hallet, Hathaway & Stanforth for further analytical study into architecture and health at the time.) Alvar Aalto took part in the competition using a drawing of a window as a pseudonym. The prize jury said of his proposal: ‘“This sketch is architecturally interesting, but as a whole it is somewhat restless and affected. The room arrangements look good and, by and large, the rooms are correctly located, apart from the dispensary and the laboratory. The bathing facilities for the patients are unnecessarily extensive. The relatively large area of external wall could be reduced to a certain extent by widening the building. The volume of the building is small.” Aalto’s proposal was placed first out of the 13 entries that were submitted.’

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Right: ‘the motto’, the parti created by Alvar Aalto for the competition submission for the Paimio Sanatorium. http://www.alvaraalto.fi/

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Above:

‘the motto’, the parti created by Alvar Aalto for the competition submission for the Paimio Sanatorium.

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The Building

Left: View of Patients Wing, Paimio Sanatorium, Paimio, Alvar Aalto Hallet, Hathaway & Stanforth

Within the Paimio sanitarium, Aalto separated each basic function the building had to perform into different wings, each wing is orientated in the direction most favorable to the activity of which the wing houses. There are five wings housing, the patients rooms, the communal rooms, the operating theater and the kitchen. Each wing tries to contain one type of room but where there are similar rooms these have been located together, these requirements being for example, natural light and views. This has produced a building made up of parts, each part or wing having its own characteristics and varying views out over the landscape. These wings are linked together by a central core where circulatory elements are positioned.

Below: View of main entrance - patients wing to the right and communal wing to the left, Paimio Sanatorium, Alvar Aalto Hallet, Hathaway & Stanforth

Wing A - The Patients Wing Wing B - Common Spaces Wing C â&#x20AC;&#x201C; Service Spaces Wing D â&#x20AC;&#x201C; Boiler room

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The Patients Room The most southerly wing, is the patientâ&#x20AC;&#x2122;s wing. Southeast facing rooms provide sunlight, fresh air and isolation to prevent the spread of tuberculosis between patients. The large amounts of morning and limited amount of evening sunlight was essential for at the time it was thought lack of sunlight was the one of the courses of the illness. This seven-storey wing dominates the whole building. From a distance it pierces the tops of the tress providing views out over the sea of pine trees. Continuing on from the main body of the patients wing are a series of sun balconies, so that patients could lay on the beds and receive copious amounts of daily sunlight. The Paimio Sanatorium was the first building in for which Aalto designed all the furniture, fixtures and fittings. The individual patients rooms were designed specifically with hygiene and comfort in mind. Each room was designed for two patients each having two beds, two oversize basins, and two wardrobes. Three walls were constructed out of a heavy material and one out of a light acoustic material, evening out the acoustics of the room. The basins were designed specifically so when the water flowed out of the taps it hit the basin at an acute angle creating little to no noise. The common rooms are more spacious providing space for the healthier patients to socialize on the specifically designed furniture by Aalto.

Above: splash free sinks, sanatorium, alvar aalto

Above: paimio

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Above: View from Central staircase out into the landscape, Paimio Sanatorium, Alvar Aalto Hallet, Hathaway & Stanforth Top Right: Central staircase, split window view, Paimio Sanatorium, Alvar Aalto Hallet, Hathaway & Stanforth Bottom Right: Central staircase, handrail Sanatorium, Alvar Aalto

detail,

Paimio

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Top Left: Main central staircase Hallet, Hathaway & Stanforth Bottom Left: Communial Dining hall Hallet, Hathaway & Stanforth 150

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Paimio Sanatorium - Alvar Aalto a reflection - Stanforth

to the individual patients. I believe that this use of concrete while providing a suitable and functional internal surface does not create the atmospheric quality of many of Aalto’s later projects.

It is clear that this is one of Aalto’s early functionalist buildings; this is because there are elements not as refined as in a number of his later projects. Functional architecture. ‘Which implies no special value in ornamentation, but in which the exterior faithfully corresponds with the interior.’ The Paimio Sanatorium is purely a functionalist building, there are however, aspects of the building that connect it to the landscape and surrounding context as a mass, the height of the elevations are not over powering when walking around the site, Aalto’s understanding of context and site is evident at Paimio as it is in a majority of his projects. The relationship of the height of the building, slightly rising out of the trees connects the building to the landscape. Aalto’s play with trees in different projects such as Finlandia Hall, bear reminisce to this early acknowledgement of the natural surroundings. I have no doubt that this is one of the most efficient hospitals I have step foot in however, I believe while embracing the functionalist philosophy, the design of this building created a number of issues that I am unconvinced that Aalto had resolved. While walking around the Paimio Sanatrouim, the size, materiality and proportioning of the building gave the impression of an institution. The use of the then innovative concrete frame complied with the functionalist movement on the continent; influenced by Le Corbusier the concrete frame creates a dynamic section of the patient’s wing. This element functioned as required however; the materiality is very large and plain, not individually crafted and thus not responding 152

In continuation of this point, I was surprised at how the patients had not been designed for individually, it seems Aalto had functionalized the programme when designing but not necessarily considered the individual patient into this response. At the smallest scale the patients had been designed for in pairs, with double rooms with two sinks and two beds being provided. Understandably the lack in knowledge of tuberculosis could have been a reason for this oversight but still providing one room for two patients with an infectious disease appears to be an oversight.

Below: End elevation of the Paimio Sanatorium, Alvar Aalto Hallet, Hathaway & Stanforth

Below: Humanistic elements located throughout the functionlist building, Paimio Sanatorium, Alvar Aalto Hallet, Hathaway & Stanforth

There are many impressive internal aspects of the building that show Aalto’s care for the user. The door handles on the toilet doors are recessed removing the possibility of patient’s hospital robes or doctors coats to get caught on the handle. Stunning internal design solutions also included the patient’s windows, that consisted of a double skinned, three glazed section with the left external window opening allowing the air into the space between the two pains and then the internal right glazed pane opening allowing the new warmed fresh air into the room. The scale Aalto was able to design down to was impressive as it was such a large building, this project gave glimpses of what was to come and the underlying humanist issues and interests that Aalto wanted to address were evident in this functionalist Paimio Sanatoriium. Benjamin Stanforth, 2012 153

Säynätsalo Town Hall - Alvar Aalto a study

Top Right East facade, Säynätsalo Town Hall, Alvar Aalto Hallet, Hathaway & Stanforth

The Säynätsalo Town Hall is the epitome of an urban mixed-use project. Aalto created an urban monument inspired by the Italian renaissance. Aalto designed this town hall that housed, seven dwellings, five shops, a library, five offices and two meeting rooms for the town hall. These spaces are centered around an artificial hill, the hill was flattened to create a raised central courtyard. This central external courtyard created an elevated piano nobile on which all civic functions are accommodated. Two stairways give access to this courtyard up from the original ground floor; on the side of the main road, a formal staircase made of granite creates a majestic entrance to the town hall. On the opposite side lays a grass-covered stairway creating an informal entrance and a seating place that captures the sun in the afternoon.

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Bottom Left

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East facade, Säynätsalo Town Hall, Alvar Aalto

Southeast corner, library and council chamber mass, Säynätsalo Town Hall, Alvar Aalto

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The town hall rises above the rest of the programmatic elements of the building signifying its importance in the programme, this highlights the fact that this is a civic building; this mass signifies the most important aspect of government – the municipal council chamber. The reason for its height of 17 meters was as Aalto stated – ‘the worlds most beautiful and most famous town hall, that of Siena, has a council chamber 16-meters high. I propose we build one that is 17 meters high.’

Right Varying angles and masses with different perspectives, Säynätsalo Town Hall, Alvar Aalto Hallet, Hathaway & Stanforth Below Informal grass steps, Säynätsalo Town Hall, Alvar Aalto Hallet, Hathaway & Stanforth

Bottom Left Formal staircase granite, Säynätsalo Town Hall, Alvar Aalto Hallet, Hathaway & Stanforth 156

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Left First Floor plan, Säynätsalo Town Hall, Alvar Aalto Säynätsalo Town Hall,

Below Gound (bottom) and first (top) floor plans, Säynätsalo Town Hall, Alvar Aalto http://download.pollack.hu/laptop/ szaffi/%E9pt%F6ri/modern/Alvar%20Aalto/ Saynatsalo%20Town%20Hall/

The entrance to the town hall is tucked around behind the mass of the council chamber, to the right of the formal granite staircase. The council chamber is accessed ‘via a staircase ascending in a solid block of brickwork form the entrance hall; it wraps around three sides of the chamber and terminates as a slightly raised gallery.’ Within this staircase and corridor ribbon windows placed at the tops of the walls allows sunlight to mark its movement throughout the day internally on the building, wooden slats creating a half ceiling hide lights and creates a play between lighting during the day and at night with the contrast between artificial and natural light falls on them. The council chamber in plan is simple it is square in shape; the height of the spaces is what is impressive and creates a civic sense of ‘place’. The windows inside the council chamber are shaded by vertical internal wooden louvers and shutters, these block views into and out of the council chamber and keep the space lit at half light much like a churches stain glass windows. An internal corridor circulates from the main entrance around the courtyard, it is completely glazed, Aalto uses vertical mullions, which continues the rhythm gained from the surrounding trees, this again helps to cement this building into the landscape. This corridor provides access to the offices and meeting rooms while protecting from the weather. Along the window side of the corridor runs a brick bench fractional detached from the external structure, radiators placed underneath the brick keep users warm when sitting on it.

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Above Timber shading device on dwelling windows, Säynätsalo Town Hall, Alvar Aalto Hallet, Hathway & Stanforth Left Entrance, Säynätsalo Town Hall, Alvar Aalto Hallet, Hathway & Stanforth Below Timber slats beciming a continuation of the pine trees, Säynätsalo Town Hall, Alvar Aalto Hallet, Hathaway & Stanforth

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< Pervious Page Dwelling accomodation, west Säynätsalo Town Hall, Alvar Aalto Hallet, Hathaway & Stanforth 162

Above façade,

Raised courtyard and with verticaly emphasised windows, Säynätsalo Town Hall, Alvar Aalto Hallet, Hathaway & Stanforth 163

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Brick seating with radiators placed underneath, S채yn채tsalo Town Hall, Alvar Aalto

Corridor enclosing the raised external courtyard, S채yn채tsalo Town Hall, Alvar Aalto

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Previous Page Right Corridor leading from Counicl Chamber with timber slats concealing artificial lighting, Säynätsalo Town Hall, Alvar Aalto Hallet, Hathaway & Stanforth

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Staircase leading to the Council Chamber, Säynätsalo Town Hall, Alvar Aalto

Sketch of council chambers, Säynätsalo Town Hall, Alvar Aalto

Internal view of Council chambers, Säynätsalo Town Hall, Alvar Aalto

Roof structure where both primary and secondary structure runs from one primary beam, Säynätsalo Town Hall, Alvar Aalto

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Drawn by Stanforth

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Säynätsalo Town Hall - Alvar Aalto a reflection - Hathaway

Having visited a number of Aalto’s other buildings prior to Säynätsalo I had generated an opinion that his best most evocative work remained internal. I considered him a master humanist with the ability and rigour to produce an architecture perfectly entwined with daily life. Aalto’s meticulousnessin this area is particularly evident when studying his custom designed fixtures like his lampshades and door handles as well as his furniture. I was however more sceptical about the design and reasoning he brought to the external aspects of his buildings. When considering any architectural works of the past it is important appreciate the trends, styles and movements of the time before passing judgement. Even so I was left feeling a sense of disappointment in some of exteriors of Aalto’s more modernist works. This opinion swiftly changed upon confrontation with the sun and shadow baked elevation of Säynätsalo eastern façade. The proportions and materiality of the courtyard planned town hall connected effortlessly with its context. Aalto’s play with light and shade on the red bricks of the buildings fabric made the usually mundane material take on a whole new tectonic language one most would not recognise.

Another religious parallel can be drawn between that of the council chamber tower and the Christian church spire. While the Christian use of the spire is meant to rise up and speak to god I see Aalto’s use of the tower as an organ for debate, which rises up, and talk to the local constituents. Emphasising the countries democratic principles. The additional elevation this aspect of the building offers the town hall as a whole helps visitors to negotiate with the change of scale between the intimacy of the courtyard and the soaring pine trees, which engulf the site. Another fascinating aspect of this building for me was the historical analogy between this town hall and that of a citadel a if the Säynätsalo was a fortification protecting the inhabitants of the small island community. The civicness this idea instils is also part of my attraction to the building as it’s mixed use principles get to down to the very essence of what tradition civic life should be. William Hathaway, 2012

I considered the use of levels and the progression between them breathtaking. This is evident both externally up into the main courtyard space of the complex as well as internally as you ascend up into the council chamber in the main tower. The orchestration of light within the building is also both impressive internally and externally. The evocative use of light in the council chamber generates an almost spiritual existential essence. This is something often only evident in historic religious buildings. 172

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Säynätsalo Town Hall - Alvar Aalto a reflection - Stanforth

The field trip visit to the Säynätsalo Town Hall by Alvar Aalto could not have come on a better day, the town hall glimmered a fiery orange colour as the low Scandinavian sun shone through the tall pine trees on the fresh morning. The building immediately excited me; I was struck by the use of brick, this emotive use of materiality was a vast improvement on the previous marble and concrete buildings we had previously seen. Leatherbarrow stated, that when designing a building always be critical and ask whether the architecture feels right on the site, make certain that the architecture does not make the site more complex and ensure the architecture is an integral element of ‘place.’ The sense of place created by Aalto’s Town Hall is experienced as soon as eyes are laid upon the glowing orange building nestled subserviently between the trees. I believe even though this is still a considerably large public building the use of brick brings the scale of the building back to the individual; the individual being the people of Säynätsalo and also the craftsman. Every brick is unique and each wall is a composition made up by many individual components that expresses the skill of this craftsman. The orange glow that met our arrival is created by 15mm set pointing making plays with light and shadow creating rhythms that travel across the façade, ‘the shadow gives shape and life to the object in light. It also provides the realm from which fantasies and dreams arise’. The use of 5 percent of burnt bricks adds to this effect and creating an additional layer of texture to the blank facades making them more human which otherwise could have become stale and flat. It is easy to understand and appreciate the construction of the building. ‘Natural materials – stone, brick and

wood allow our vision to penetrate their surfaces and enable us to become convinced of the veracity of matter.’ The use of brick is an interesting material choice by Aalto, brick was a traditional material on the continent but was distained by the modern movement, which preferred concrete. The preconception of the material choice for the Säynätsalo Town tall has parallels with the choice of materials Chareau used in the Masion de Verre. In each project both architects decided upon materials that were not currently used in the typological study, both brick and steel were primarily material that were used in industrial buildings, each building was forward thinking in use of materiality.

Below: Emotive materiality choice, Säynätsalo Town Hall, Alvar Aalto Hallet, Hathaway & Stanforth

Above: Vertical insets into the brick creating a relationship with the surrounding trees, Säynätsalo Town Hall, Alvar Aalto Hallet, Hathaway & Stanforth

Each elevation of the Säynätsalo Town Hall is treated differently, the architecture invites the user to explore the exterior and this exploration is rewarded with new discovery; the buildings shifting perspective appears to alter the volume and mass creating new aesthetics with every change in vista. The use of set backs, cantilevers or oblique walls emphasise the complexity of an urban landscape. ‘The vertical slots at the tops ofthe external walls have been described as crenellations by Porphyrios but they appear to be another tool Aalto uses to connect the building with the forest.’ Parallels between the research I have undertake for the Rooms and Chairs project investigating the Maison de Verre and how Chareau used components and elements that were not usually used in residential work but in industrial architecture, the use of bricks by Aalto has similar aspects, as bricks were usually used in industrial buildings in Finland. The raised external courtyard is entered via two varying staircases: one formal, facing towards the road and

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with the milky light entering the space and the lack of external views really creates a religious sense of place.

one informal grass staircase, which faces towards the rear of the site. These two staircases define the front entrance into the building but also provides a cut through that the towns people can use. The entrance to the town hall is emphasized by horizontal timber slats that run from the entrance to the library wing. When viewed from the formal staircase they are appear to be vertical and act as a continuation of the trees emphaising the buildings link to the surrounding context. Aalto uses many other components and design tools that connect the building to the site, the play with vertical elements this combined with the lack or subtle use of horizontal mullions avoids emphasizing the horizontality of the building ensuring the vertical connection with the landscape is made. The interior of the building is stunning. The control Aalto has over light within this building is one of its most impressive aspects. The corridor providing access to the council meeting rooms is lit with direct sunlight warming up the space both physically and mentally with the orange glow of the brick. A brick course extends out from the base of the window, a small slit behind the this course is the only indication given that it’s a seat designed for the towns people waiting for meetings. Aalto has understood this element on a human scale and has placed a radiator underneath to heat this brick coursing during the winter.

Wholesome reflection

Below: Wooden slats concealing artificial Säynätsalo Town Hall, Alvar Aalto Hallet, Hathaway & Stanforth

Above:

lighting,

From visiting many Aalto buildings it is clear that Aalto had a number of ‘moves’ that he has prototyped initially on buildings and then has reused as an element or idea and developed it through later projects. Elements like door handles, lights and handrails have been cused throughout a number of buildings with a similar philosophy to Aalto’s chair design, the idea that one technique of wood bending can produce a whole family of architecture, and subsequently this idea of similar door handles and light fixtures that feature throughout his buildings. I have taken many things from this trip; the impressive feat of how Aalto worked across scales from the building to the room to the fixture, how he responded to site and how he was able to design for the user whileproducing innovative and forward thinking architecture incorporating atmosphere, function and creating place.

Detail of the seat in the corrior of Säynätsalo Town Hall, Alvar Aalto

Benjamin Stanforth, 2012

Hallet, Hathaway & Stanforth

The grandest and the most impressive space inside the Säynätsalo Town hall is the council chamber. When standing inside the sense of place is not relative to any town hall I been in, the place had more in comparison to that of a church, the rich materiality and the higheiling creates an air of importance and order. This in addition 176

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