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  • A Thematic Analysis of Alvar Aalto's Architecture

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    A Thematic Analysis of Alvar Aalto’s Architecture

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    A Thematic Analysis of Alvar Aalto’s Architecture

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    239 visualizações24 páginas

    A Thematic Analysis of Alvar Aalto's Architecture

    Enviado por

    lamerman
    A Thematic Analysis of Alvar Aalto’s Architecture

    Direitos autorais:

    © All Rights Reserved
    Baixe no formato PDF ou leia online no Scribd
    Sinalizar o conteúdo como inadequado
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    PUT 7 PPE BRWEBODI D4 PCs 5— A Thematic Analysis of Alvar Aalto’s Architecture William C. Miller RR Pa TAY TTA ORR, BOLO TEL, BOHR, C CWAWESOREBRDNTHR. CORB, KCPDROL ADL MO ERENT. C5 LANTIE C ChORBOMMCH RAD Boho RE LORMOBEM, 777 MANERA NAA LCRRE HoCRboROTRRUALSMCBS!, Thi we” KAR ON AH, TABIRBWO TCDS. MoH Mb ADRK! bo DOO T, BBSLUC EER SOEMEMD I RY CoRR ELOTHS. KK, TTA DO COMBORMONEL 2d, Rin Be, POPPIN HOF A VOME COM, FIM, ML OL OWSERI CORE MS HCHS. Mk, 774 hoa EANCH WEF SICH, LOPE LAERTS Lik BIRR CES, SOME ROKER 1177 FCS LVS MRC OAREMML THB, Ll FORD, CHECTT A HOM TORHOS ( CEMIMRONE ERAT, Lieto t, LOMROUT, ABICOM COMA RSME EF EREROCES. LL, 774 hO RRMA Cob RELATED Bie Hb Pe VF AUN PANNE) MSS AE HEL LE, TT 4 NOMRMIC OM COMLY MBNA RDNSESICRS Feo MC, BLOM CRT T x Kove NE RINE, FAI RENELIKH OR EOC, TTP OMRORCD REND SV EMRMMMH A THEOTSE. ESCRK, LOPPAMCIE PREM OV COMORIAN LO SMM, TADETT AL KOO CH RALAME DME ROBO CHS. TT hte HRM ERG, RAINIER ABE D Helle CACC, DENAMROMO, Dorks SHR RROERT LUTHER CERI. TTA NOMIC PL EOS ‘Throughout the greater portion of Alvar Aalto’s career his archi- tecture was often considered to be highly idiosyncratic and personal in nature, and thus enigmatic and somewhat inaccessable to analy- sis, This conception seems to have been the result of several factors, Firs itis partly due to Aalto's seeming lack of interest in writing, lecturing or polemics.’ This attitude was reinforced by Aalto’s ‘constant refusal to discuss theory when questioned about his work: ‘usually stating, “the truth isin building, not tlk.” Second, much of our understanding of Aalto has been prejudiced, for too tong, by the writings of Sigfried Giedion in Space, Time and Architecture. Lastly is the excuse that the only way to truely understand Aalto's work is to experience it firsthand. That the greater corpus of his ‘work is located in Finland tends to encourage this view. Thus, much of the material on Aalto has avoided theoretical interpretation, and some serious misunderstanding as to the nature and content of his work has occurred. ‘But it should not be assumed that Aalto’s architecture lacks a theoretical base, With publication of Robert Venturi’s Complexity ‘and Contradiction in Architecture a new line of discourse began on “Aaito’s work: while more recent analysis has begua to explore and {interpret the content of Aalto's work more fully? What is emerging 4s an unraveling of the conceptual or theoretical base which under- lies Aalto's architecture. What is also being exploded is the myth, ‘often perpetuated by Aalto, that his work shows a lack of interest in architectural theory. ‘When penetrating into Aalto's architecture, one observes that ‘specific architectural concems and elements form a continuity throughout his work, irespective of chronological development. It is from these reappearing concerns and elements the importance of 0-7) =r 0mm, BAe Meeting ror, Viaet Liraey. Photo Fis Dam 7am ron, Pariah Centr, Wolsbng ESRRSOH, ETCCS LAMP RLMDNSBOABRD SID PhS. MMMICTAH, 772 MOMMICMON SEMEL HK Fh RD, MEME, AOR, RARE, MLO, EAT, HACHS. WEOL SAMUEL T HICK TARO PROD HATNEL 2D, 2 OICLEMLS LOMED MBE S 55 COMETH, ECKKDR ORB ORI SCL CTS. T fbb, MevIORERL, 3, Wah, BM, MALO RICH o, sam CORRATSEMORR? UCT T+ hOMROHERD CED KF, @, MMOSRORH, 2m, ROIEF, KR, ARAL 9 PRMACH So 774 aRMAMOMIN AEE LIERL ED ELT DAMON KMD, CHICO TEE ot YOMRDD RHOAT 14-7797 VO DTCRS AMIOPCRDNTH S's TTR OWR, HELO, CORMMETERS — HORE HoT MRO RD ENTHR LORS, CORMIER TRINA OIF EIT AR DE OK B, SECRAROE/ UA LPRERBOMKRONEKBERD, LHIHLT, 74-7 OWRD RSS — AOR WD) OW, E ORM AMAR ALBERTO EDD, LORIE Bb SLO S MIE, TTA MORAL OT ERREROL ATT Phin OHS 5K, LOIRMIBIEN 2 ROEM L-Co € EREMOICRML ADI ODS, COE SIMD SURE CHINO RICHI L-CS IE, 77 2 FORALL “themes” emerges in Aaito’s architecture. Generally, the themes found in Aalto’s work include light, ceiling, sinuosity, texture, varying aspect of scale, stairs and handrails, space, fragmentation, and the use of planting. From examining these reoccurring elements, 4 thematic network through which an analysis of Aako's architec ture can be developed. Specifically, five themes are discussed here: ‘the undulating surface, light, mediation, space, and fragmentation. ‘The Undulating Surface ‘The undulating surface as a thematic element has appeared in Aalto's work as ceiling, wall, building form, space, lass vase, door handle, wood sculpture and furniture. Of Aalto’s interest in ex ploring the architectonic possibilities ofthe undulating surface there {sno doubt, and discussion of it has ranged from Giedion’s writings to Neville Clouten's recent analysis} In Aalto's case itis the variety of scales at which the undulating surface is incorporated into his ‘work that is important. Although it first appeared in the Paimio Sanatorium as an entry ‘canopy and control desk, it was in the ceiling of the meeting hall of the Viipuri Library (Ggute 1) where the undulating surface became 4 significant and dominant architectural element, The ceiling’s ‘importance lies in both its functional rationale, as seen from Aalto’s acoustic diagrams, and its poetic statement concerning the flowing ‘quality of the sound as it moves through the space. The use of the undulating surface as ceiling, for functional or poetic reasons, like many of Aalto’s design ideas, is repeated elsewhere: the M ‘Carré, the Central Finnish Museum in Jyvaskyla (figure 2), and the WRK, OBA LOM AN COS, MB, Lyme, aT ee AP ONIRT 9y EGRE UID, 7 27 x72 BRED be PE a TORAMRRORKMOBS, cOvmM AIMEE ete DRoRRUMC ho CHS. MAP EAR AMEN OSA me x Bish (WB), AMOI be BAY y ROSLIEOR (HB), ANT AR PROT 7 I NCE SMMIEM, 74 ITT Om ABMGOM ARO, CHORTT 2 LAC ORMWRM ERMC WK, BEVAMMARCRAL COSRHCDS. CHOKMOREA LORE, RINE LOREAL CORR (2 777 AF 272) 1B, BEODAEMMY (7079-742) AIRE LCDS orbs. CORE MIKE oh SRO RET TA host L BLIRLAN CERT, UU CSE LH TIMESS. COB BALOOMMERL TH SOTSS, MS, CCRROEMEDC OI FHL LOM OLOMREN DDL LO SHEDS, TUF VO ROUT 1 Tr) (BD) PAPER OTHAE OBERT 2, COMWERMEN, RRIF 4 MIO COMER CH Se RAPSH GD) POP T Hae TOY be ay Tew COR RRS 2, DURERBOICe (OL OMMME DARTS. LAL, Cc TRRRPMEL MAA Sho SEBORMD ORNL LITHO BRED 5 UTHRBL CHE OCH 3, D4 MIKI AT ORGY 7 CORN HESS ¢ 9 HF Ma REASONS EF Bic, LOC OMABMICH KL LAERTHS IBID =. —3— 7 HHGOROT « 7 > FADE. KEM Bh £5 ARRAN M ID MINe LIKAOICIEMES 9 EL CS. CE Wolfsburg Parish Church, In the Forestry Pavilion for the Agricultura! Exhibition in Lapua, the undulating surface became a sinuous log wall enclosing the exhibition space. Baker House dormitory (figure 3) with its great serpentine wall, the House of Culture in, Helsinki (Bgure 26) with its series of curved surfaces, the undulating conerete wall of the ‘yviskyl Police Headquarters, and the scalloped wall of the con- ‘ress wing of the Finlandia Hall are examples of Aalto's continued vse ofthe element as either building form or wall, In most ofthese instances, the undulating surface is used as a contextual or program- matic response in the design. ‘A variation ofthe undulating surface as wall or building form can ‘be seen in the fan-plans or fan-shaped forms found in many of ‘Aalto’s buildings. These fan-forms seen to perform two functions: they either create edge or become enfolding spatial containers. The “Neue Vahr’ highrise in Bremen (figure 4) and the student housing. ‘at the Technical Institute in Otaniemi use the fan-form to create ‘edge as a response {o the in context. In the libraries at Seinajoki (figure 13), Rovaniemi and Mount Angel, the fan-plan becomes an ‘enfolding container; barely able to contain the contents of the space ‘which seems to want to burst forth from the orthogonal frame it hhangs on. The meeting rooms forming the curved wall of the Wolfsburg Cultural Center creates edge while simultaneously en- folding the spaces within. {in the Finnish Pavilion for the 1938 New York World's Far, the great flowing display wall attempts to totally mode! the interior ‘pace, The image of this wall can be seen repeated in the interior of, the Aalto Museum in Jyviskyi@ and in the conference room of the Finlandia Hall. In the Vuoksenniska Church (figure 5), the spatial Lecce tll Central Pelsh Mascon, Potato reereatey) ‘Baker House Dorey, Pat ator Berd a pans THIN ” Q-ve38 iota Chr. Pl thr Jo% 9593 FIBA Nonna An Meum KALA SMMID Avia 7 Ae. OTT HER RONBET AYP YF AT HN ORMACBURDN EDC SV 77S AnNae MD) OE, BOT 477 y SAL COAM AAEM ATT ELCHARBLACOEEL IS, COCKS DAS AL LR HOMO CH oc, RANVRMIMTTE AIL Oo AMOR RIC DREMEL, SHI XI DAKE HoT EOCHE, TTL HOB HLA VIA b AA OAMOMEL EH, COBME LcOwANO RMICKIOR LOD, BIORLLORHADTH 3. MAORMETE ROOM, COLSAEMETT © ANE DBROR OMI ALS LCOSMSROMIECE S. LL, COMMA EOS EMEA AAMC Rs AP ROTM, HERO AR HHWICS, HOMEF RG, BORA, BONAR Ek OME ALS DBS PANTY DT ABMRLICE SIC, TTA RMB WEBCT, WBOSOMRERT ERAT, OSVBLMDELM 2thSs, SASHEMSRE RADI, MIEN, TREN, i, HIRE EFRON CP COACH CHAMILT Te ROT Wes yore ss, TACLOCTTA hOMRSHTHEOSA FREMEMBEKD SOOTHE. TTA OPC AS RD SRMMATTIC OM TERETE SY BSL OBEABL DNC he MTR BORERE LCT 4 7 NOMRMMT ONCE, COBLAD-BRLC, FLOWS POURVHLON, KHER TOE. MAL, MARR E LCDI Fy FORRODRBET AC Riss, ARE LT, ROWRORC ZAK FMDIREE NS LO SOERD IC LMMT YE LOS $OT BBs LL, CO LARARRNC LS ONMER MEAICEOR HONTEROTHE, REAM, TAD Poa VEROE TCR ‘modeling implied in the Finnish Pavilion reaches its full develop- ‘ment as an undulating space. Here the entire construct is a sinuous flowing ensemble, no longer merely a singular element as wall or ceiling; but a resolved rhythmic whole. Many of the interiors of Aalto’s concert halls are developments and variations on the undu- lating surface as space. It is the diversity then, with which Aalto incorporates the use of this theme into his architectural frameworks that is unique, How- fever, the use of the theme is not limited to building alone, but can also be seen in his glass vases, wood experiments, door handies, plywood furniture, and even some of his light fixtures. As Ranulph Glanville has noted, Aalto re-uses elements at varying scales, in a diversity of ways throughout his design work.* It is Aalto’s ability to use the sinuous line as plan, section, elevation, space, and in many of his details—at all scales in his work—which makes its existence so rich in his architecture. ‘The prevalent use of the undulating surface in Aalto's work bas been attributed to a number of sources. The concept of the Finnish landscape asa direct source or metaphor for the undulating surface has been accepted and supported by many writers, Although, as a ‘metaphor, one is hard pressed to deny the power of the Finnish landscape as a source, for this quality to be translated 50 literally into architectural form seems all too simple. For too long this notion has been accepted «@ prior! by many writers. For as Asko Salorkorpi warns: ‘Writers on architecture see some of the inspiration for Aalto’s freely formed spaces in the lake and island scenery of the Finnish countryside. It is clear that these hall areas are spec ™ens of the architect’s virtuosity and hence less approy ‘NN The Undulating Surface _ met ao tae ee ngs =—9— 9 aR? 1292 Prey ganor a, a #L ths — ORC OM COME, 77. LOR EMORLO MART 4 Py POMP RAORMCD SLATS: THOR AHMOME CO BRRAGORMONA TH), MM CHAR AMEM A OMARCLE KORRKOMI, BEHELD 3. TTA hOB I = A PAD AL ORR EY 9 7 ORL PRICE GOR ER, RENDAS CHS, GROBRCMT SMD, COMMIEIALT HHCY, EDIT CMAT Lin, TALE) OWE RS HOH, AS CARDET CHAS OMMRBOMEL HHL WTB DET BS 74222 FORRCACHBE UCHM BRE LOMO B50 AMOI | TREN AA beH IHS, 74 Oy FRMEL THEA MEAORMOTIC, RA aieE MRA BIH LOS GD). TT» ba CAL SKC, AMOS 3800, ERE RLOR LOMO, BERK, moce soc BS, REEL CE MCHONE LOCH Rin, Bh, BLOM KX oTHS RA ONE ‘There are several variations within the theme of light, Aalto's development of the conical skylights in the ceiling of the Viipuri Library reading area (Figure 8) being the first. Six feet in depth, they provide the space with an even diffused light. These skylights become, with the sunken reading area, the major clement modu- Jating the space; the rows of round elements compositionally ‘enliven the simple planar rendering of the walls. The public space in jeg elec ie: RORMCLY DHORBEEED oC, 71-7 TNE KIC HLON SEMANA OBND LOCKS (ID). CORBA TRON BERS, BMC REMMLARETR ONS. BHI, CORB, LOMMEMMTS LCRHARKKG 2 THEOTHS, MRO REC Lon THSMb Soe, KROMBOMEAMA ON ORR FINNAIR D OLE LITHO MCs E LAME RUNS, POFFO ATLA EAOK— He (BD), PSAGONR BATT AKAD TLD Y MMMORAR, SAI NDAD DOT, FRa ai THAROEMBONT ATRL, COURKE DERM SCH MCD S, CORMER DARL T, KB OLEACMMDI MA bn, CCL > CEMNCREELDNE CE RET, CARREROTOR VEIL he Ya AI AIK? Sc BAMO WE ED) IY 4 — 7 9 LBM CORIE ERE METER GOOF CHA—MCHS. ECCT TA HAE RRL —WRORRE RIAL, CEROMEL EMORA:—aE ERROR ENEMUOD, Then eMLee, DOOMATTO SOTKE, CS LARRRAMONMELHETE ECTS HSH DORKS, RALDLOOMERECED oT, SMIKO— HIRE RUTHEOTSE. CORE 5 EMORI ORBEA F == THAPOKMROR WHER DNS. ECCRHR RMAC DA CHM, Lib, AE RAARORE DC O8 Mo THER, BRODIE DES KhotoS. COMROMMRL ES £, KARE MIBIKE Ime ARE BER, KEI CHEORICHS QM. COCEHUTHORE BME MET SL COMMAERE £2 CHS, CORONERS LRA EIT Om BOI AO RRB CODE HA, the Rautatalo Building (figure 8), the library in the Pensions Insti tute, the display areas in the central Finnish Museum in Jyvaskyla, the lounge in Baker House, and the foyer in the main building at the Technical Institute are but afew examples of where ths skylight is repeated. A further refinement is the addition of an artifical light source above the skylight which provides light during the winter days while also melting snow. The liorary in the Wolfsburg Cultural Center (figure 10) provides fan excellent example of further evolution of the Viipuri ceiling. Here Aalto uses skylights, both conical and linear, to unify, rein- force and articulate the structure, the shelving arrangements, and the sunken reading area. These skylights not only help define the particulars of the space, but modulate the ceiling to achieve a total synthesis of the ensemble. ‘The second variation inthe theme can be seen in the ceiling of the ‘main auditorium in the Technical Institute, Here the light is diffused ‘throughout the space by large curved panels which simultaneously shield direct light from the audience. The section of the auditorium (figure 11) indicates the resulting synthesis of skylight, structure, space, and form. Again, the ceiling surface becomes the major clement modulating the space. In addition to being repeated in the recently completed Riola Parish Church, this form of skylight ‘appears on a modest scale in the council chamber of the Seinajoki Town Hall and the meeting rooms in the Wolfsburg Cultural Center. “The pyramidal skylights inthe interviewing area of the Pensions Institute (gure 12) provides the third variation of the theme. Here, due tothe clear glazing, changing patterns of light and shadow play in the space, Instead of creating planar ceiling surface, the sk ‘eeu October 1979, @p9nae tI 4 Rem, avb oe D9 HIRT PRAM, BBE. ray Woiar Cull Cen Phas ahr onan oHAg, ANEONR. Slo, lal, Teil I ™ Lt, RY-MIDE Coes, APTA RORMEED 27 RIA? CH AMOBRBC LGN E © PG MO MASI DNS HVEXEIAC OLOEMONT0 CDS HD. CCH, RRA ALAN THIS, LEE OBATRET S88 —vaRROH ORES THS, ROME DER THEOTHAL, CECHRMLDE EABMCH THEO CBS. ELKOMNF AL THY, COMMMMBAMICA cS B, APICRATICHR A ERE OD OILS K 5 IC >The F ORMREMOMMD VOLT, GEHL, ECMY SOE CE BMo Tobe Ah Pe RBOMELCH, VADTT.POrAY PPTs TROMBRICL LAL OL BORGO ONTOS, 1 DARODAOROM IIE DTSAEL TS SC, MRORBEMU 177. OUREKR DNS LOC BM, CO CHR EMORM MCD SRA D Ao CHC, MIRO HMELENAD, HOS OAD LTHEOTHS, COBETH, HORLOBSPRMLOAIRS Lc, RIRMORIE EK ME LC Be BY ARR TY Yb 2 Ye AAD RMBD SOAS —2 +27 LP y AWM CH, TTA REPT CORALS 20K, > RAECE THO BORDE. FAPROMBOMMIENG TT DORSCE, HSORRMER WTS ES RABMOMROHN LACES. TH OAMIIT 2 PERRI L CHC OEFICDERL, Bishan CRIA L OLAUES BRMORAAESA ONTOS. WINHRMORBORS HRESEAT-AORILH, COMMOBMAIC LHS. THDEAY— AORO-FOMCABRBALDY, ¥I—HOMICBRE, BIS B20CBE. ‘open spatially to the sky above. An insulating air space is created with double glazing, which is heated in the winter by lighting fixtures hhoused within. These fixtures also provide supplimental winter lighting, while keeping the snow off. The Stockmann’s Bookstore uses a similar skylight—except the bottom layer of glazing protrudes into the space—as does the library in the Scandinavian House in Reykjavik. ‘The last variation of the theme, as seen inthe library at Seinajoki gure 13), occurs with light entering clerestories high in the wall plane of a space, and then being diffused or directed by a curved ceiling plane. Here there is more intense manipulation of the ceiling for both spatial and lighting purposes. The libraries at Rovaniemi ‘and Mount Angel, and the North Jutland Museum provide differing ‘ways Aalto reuses this element ‘Aalto’s forcefuiness in addressing the issues of ceiling and light, ‘his response to the particular requirements of lighting his spaces, ‘can also be seen in the designs for hs lighting fixtures. These fixtures reflect the same intense concern and result in the same vitality of form in their design as does Aalto's architecture, Much like the ‘change of scale between building elements found in the theme of the ‘undulating surface, this change occurs in lighting too; with the light fixtures at one end and Aalto's clerestories and skylights atthe other end of the scale. Mediation Aalto’s ability to reconcile the forces acting on the inside of his ‘buildings with those acting from the outside, without the expression 3 / Light er OMBLD OM NLAM DMC NEMD RTM. LOEDHED LO RR ECWEERTRR 40 COU SA. COTTA ROT AD OMBIC Eo CHIARA RS. He ORI OW CR CARRE SMC RAR, TT RAE OIRIEIE e CIBE ARE OMERNT S LOLAONRTE EHEC BLOTS oT, SHEL AEM E LCMY SCE SHEEEN CHS, HMC OW TRE LOE RELRDE DKON ev F mI CDE, CHADD ABA CRAT 5s CAB DARN Eo CBT SRE RIC ATA IN EAE IL, EARS ECORI RSe NMLAML EMRE S HOCH SHS, MRD wie! Dd LOOREHACALOCDS, BFAD SABLA OOM RLOPROwMs LCORMCRD, F7~CR SI, War ey aA DBROBOBMNE LOL (EMME READE) AME ZOICA ROE AS RO BMEEL A SECRLD THD, Mahe GIA SUMOADK) SHe—PHRCMML TH soe BSH, MN EES SRINLLABCCR THE (lw. Eh ft, AMC OWTHA, PORREAMRM-CH, HME VOB RCO THA MMS FLOM CH 35 HH, AMOK, 25 8 BRR ORMTMOMRCKL HSL, ROMELCRRCEE CH >, TARMOBAEECEL CONS OAM) OBS GID), CO ARICA ARIA 3 EME A SARIS S ZL Phe COX TOF EOH NRE M? CAD NCHS De LUCE CRS 5 MEME 5 LIM Hd 5O-CHS, Me 29725 LOMM, Libary a Roviem. becoming surpressed, simplistic or forced provides a valuable lesson in today’s architecture. The notion of mediation, mentioned briefly in the section on light, can be seen in the way Aalto manipulates between inside and outside in his architecture, and is important ‘enough to warrent discussion as a separate theme, The best defini= tion of mediation comes from Robert Venturi Designing from the outside in, as well as, the inside out, creates necessary tensions which help make architecture. ‘Since the inside is different from the outside, the wall point of change—becomes an architectural event. Ar ture as the wall between inside and outside becomes the spatial record of this resolution and its drama.1® ‘The interior of the Vuoksenniska Church which evolved as the result of acoustics and the necessity of a three-part division of the sanctuary space (to accomodate secular functions), while simul- taneoulsy maintaining a linear orientation for the entire space (for sacred purposes), becomes a flowing, sinuous spatial ensamble (gure 5) It isa space which makes litte pretense as to its interior- ‘ess, and seeming anonymity to exterior relationships. The exterior form (gure 14) on the other hand, responds to the context of the «existing town plan on one side, to the forest on the otber side, and to the particulars of climate (sloped roof). The shed-ike forms does little to disclose the spatial construct within ‘The reconeilation of these two entities occurs in both roof and wall (igure 16), which takes on a thickness and quality reminiscent (of Baroque architecture, The thick double-glazed windows (figure 15) are the dramatic resolution of outside meeting inside. In addi- tion to formally resolving the two differing worlds, these windows modify the light and are acoustic and thermal barriers which further Vooleanta Check. Phow athr 2% e+e Octnber 1879 ZADS (8B) RAMLABORAO MAMIE S. C5 LAME SOOMMLE, MEMES REM R SCH SOKMLT, 86 Ke, SURES CMLL, HOMOUIEE Roe, LOEMVINEK BrIDrhocHs. ATemveEody BAM, 772 NMONRE ME AMOWML OMY GOETH SL CREATMORME AE De AY 2 VOR LATER DR 2 Ch SHORE AMEMORC TLS L, MM, RRP AEATHEDTHEH, A MCROHAMES KET CLUAT EO TH AM. BAOBMIEA 2h, MEE CRITI. SHTH SH, CORE OO MAE EMio Cod. BK, COKMLMLL AUER BMICK OT, tkoiWl> CHSOCHS, KC, EHS LO LALA, COKIN PRICE ECT MCL oT, HRSo Den EnosMmorate BIRCEN, BIC ON THEOTHS. CHEREMD GOST 7 PBOMMEIC MONS. LS 50m, ADDER AA ON LOREM E OD MBLH TH EOTHE, TTA ORM ORMAEE ML THE L, MIE EIS SULIOL COBH_THE. PeRARORMD1 4 - 2h. CHAR, MDB, FAM, FETA LOM HOMICR RCL Be CODED ATA FRBS ES, AMOR 1, MM, RICHES OCHS, CO=IO1 Ait, HMO PORTO CMNL Ao ONS. F 4A 7 VOOM ECE D CHD TECH, CORR EMT SERERAMD CHB TO Se BK, MRIHROTD SURED Co CRRER TEMS 8, CHIRON MOLT RVR DNS. Ct, SCAM OORAR, Mik L te, RMT Do 8 DLL ARMIES, RARRER DN SEL SMRAOR, BIDS. CORREA AP EBML TOTES (LMC AAWKEA LM CHS CHS). FHL GK THFOWR ED ThE, ROWE LORGOKHD, “REIL COSMEL LTO aoa s Space In addition to the undulating, or non-rectilinear, quality of Aalto’s spaces discussed previously, his spatial conceptions are also rooted in two other images. The fist is an enclosed bounded space with a sunken well, or defined by balconies, providing the image of a ‘courtyard. The second image is one of human action, made specific through the use of staircases, landings, handrails and balustrades; all, as George Baird notes, elements related to human action, move- ment and touch.!? In a majority of instances, both images are ‘brought into juxtaposition with each other Tn the reading area of the Viipuri Library (figure 8), the major elements composing this theme come together for the first time. First, ike many of Aalto’ later spaces, the reading room is organ ized around a central well or inner court. It isa stati, well defined space with an almost total sense of enclosure. The major source of penetration is the skylights in the ceiling which intensifis the image ‘of courtyard (metaphorically open to the sky above). A balustrade, ‘usually solid, defines a sunken well—a sub level of enclosure which static enclosure is juxtaposed the second image, a dynamic one revolving around ‘human action. First ig the staircase, dramatically connecting the horizontal levels: concretizing the ebb and flow of human move- tment, Secondly, the ceremony of ascent and decent are intensified by the handrail: a tangible floating line in space which reinforces ‘the position of the staircase and physically intensifies the action ‘upon it, The handrail in Viipuri is a smaller form of the balustrade defining the sunken reading well. The image of enclosure moves from the handrail, to the balustraded sunken well, to the entire Y= PORN, Lita 0 Vin Pavey Vas, Reson lost B20 yh ny anOMRR, MRE, Mouth Ane Lib, Po ator rar erm C, SRAMMOHOMME HOME Eto 8 DL Te SAME Ro CMS, CD LAAN ORMRICHL C,H: sult BO, CODOARAMONEIC OM COME AMES 8, ETRE PBB. CHRAFAW SC OROLAAERMIERUSU TOT, ARO MORTEM HS, AUMBLOIHEKS, chAP MCE XObUMALENS. Bh, COPMERMOEAO TANS, BM FAR CHOC, CAUARONMTRML, THis CDRS HMMM LOCH 3. 4-7 OFM, BEC Roll HREM COS PMEDNED CES, COMMORT HD, WR CME CK Se, MARE FH b, RCRA OM STO 6, RODS, ELTHMKOMMA LN TET, GHENT MELV5 A A-PEUD SHALE TH LOT Bo COMORMOPA, Lhe chbO1 4-H ATT» OMOwAR OPC RERKCE 5. Y 4-7 IG OY be ay aAR CREE BEMOMICHDNEOCHS (HD, BO), Ys 7) ROE ADR FMR ARDATOS. LAL, SPORDUERE, BLAS COMA 4 — TERED OmORMC ORE CR Be TRAD ATA EMOMEKSERM, HEMMER, Kby 2 REDUCE MR LE, MOL ATE GR BH, ZOPERRE RORAAD ERS RO RMORS APMC ED EMENTHE, PRAT PVT MCLSE, CHWS MIE, E EDIIYT EAE PA ROI HY Eb aEF BARRON BHMBEMSL ELD EBEM, 74777 FOLMOMMONICEH BNELOTHE LAS. EC, EON CES LNOR RMMCAMENSLORERIOTHSY, TT FPR CAML S LAREN 5 2 BA ATRIOS 4am space, as one proceeds from the lower staircase up into the space. ‘We ses this type of spatial order, and these images, ina number of Aalto’s libraries; from Viipuri through Mount Angel (figures 10 and 21).*? After Viipuri a majority of Aalto’s libraries also incor- porate the use of the fan-plan. But these two basic images, with variations, also appear in a number of other Aalto spaces. In the ‘central space of the Rautatalo Building (figure 9), the interviewing. ‘area of the Pensions Institute (Figure 12), and the central space of the Stockmann’s Bookstore we see the image of courtyeard defined by planar balustrades rather than the sunken well. Although some- ‘what reminiscent of Wright's interiors as seen inthe Larkin Building. and Unity Temple, Ranulph Glanville has proposed that the court- yard image can be found in Finnish vernacular architecture; most especially in the vernacular farm-complexes which are organized around a courtyard.? Title doubt that Aalto’s hand ty of the space beyond where one is the Stynitsalo Town Hall (figure 18), the balustrade in the three-story space of the Teachers College in Jyvaskylé (Ggure 19), and the handrail in the foyer of the Sports Complex ofthe Teachers College (Bgure 20), are examples of Aalto's use of the handrail or balustrade as a connecting element between spaces. The freestanding staircase in the foyer of the Teachers College (figure 22) acts as both connector and a screen, and is @ variation of handrail as connector. Similar use of stair as sereen ‘occurs in the Wolfsburg Cultural Center and the main building at the Technical Institute, ‘The image of human action picks up elsewhere in Aalto’s work, ‘neu Geter 1878 Ri, AT = FEES 05 PME EEE AU ORRLML TNS, EN BRMONIE RT EAETS GOTH, 2477 7 UTERO FR 297 4 ORR CO ARIA OPM (BM, Hl KDA RBOKT 4 SOP GAB) BLATT RR SOB M9 SUN PRFLAM LE ALEBE ON 5 LOL LH RLM CD By COMPAR OKT 1 -21cB SIRES) HARON EME HORA ORL Cid, MARIE LCOPMIEBLA LOCH S. CHERICE SS, WORE LCOS 47 R72 bse PATS CUAPORRMOM TE RONS. NOHO AS CRT TA LORDOT HRT ERS, HO HOM, EMER LOS aA, KOM, HR, BREAD Bh, MINKENTHS MB. O. HSRRMOTA, CFOS BRS PU EAH AE DORM ORD, CP ORDTSE TRAM ED ETCH ORE FELCH, Bie, HOM FEL, ESO OMEMY OV ONAD, OBER LCST DAT, MOLRMERO RACH, ThESPHDO 1 sv Hs 0K 5 LA SOTHE, MIC, EHWS HOI, TTL ORMORMC AY AE GE SBRICR CHS LVS HCH E. t ARABIC GABAA ECE CHE, mate. TTA NORM, RELRRIEL OOM RT MERD LTS. H ORIG HEY bo HOR HER RL THO es UL DB, TTA ROME, ASR, RRIF, Ae io ARR ORM Many of his wall surfaces, columns and piers are articulated with tiles, wooden battons leather thongs and stone (figures 20 and 22). ‘On one level these materials are tactile responses put on surfaces such as concrete and steel; materials that are not pleasant to touch, ‘oF rub up against. On another level, because of their zone of place- iment, the zone where people come into contact with the building, they become “vestigal embodiments” of the image ofthe handrail"? Lasily, they become scale giving elements within Aalto’s architec- tural frameworks, used both on the exterior and interior of his buildings. Fragmentation ‘Aalto’s architecture has always exhibited a carefully maintained balance between order and disorder. It is not an architecture of simplistic or superficial unity. Rather, Aalto’s work conveys an architectural imagery of incompleteness, fragmentation and differ- entiation. These images ean be seen in the seemingly dissonant and at times undiagrammatic quality that Aalto's buildings project. ‘Aalto seems to achieve an order to work out of seemingly di parate and incongruous elements. What usually occurs, is that selected and elaborated parts of his buildings, usually major spaces, are played off a more general or neutral framework. The Tecture hall at the Technical Institute (igure 17), for instance, is the clement selected to be diferentiated from the more regular orthogo- nal framework of the classroom wings. This ean also be seen in the way the fan-forms in Aaltos libraries break forth from the more rectangular portions of the buildings. In addition, the places of osu Gutsher 1978 Oe etho ret 8. NAOT, B-agrxesonnKe, sMeTRO TET BRAKPOR* IRR, 291 LOR, Ss Compl, Teasers Cog. Pht ater Oo maee, m9 12omamR. ” =M /Space PORELAR ED. CS LRA AAU, 77% LORAIN 8, SARUM 5 OHITOUME TS CAM ENED CDS. TTAPAMRECSMMC, E CAMILA S LEDNSER ES LOMCEEETED HL CoS, RC BERS, HOMRHOMDF 62%, BEDbho TOS AD, OLD, LOMO, oH EO KER, ERE MARH ED Go COBO CHS. TASH ET HATO RE —< (Nit He, LORS, Boo NAAR. DELON, MELTHORSDREBLLS. EOE, TIAMD ek DO RRO PRIN LH SAR) & IED 2 OMABOULS ORC CARONERTE RS. LOK, MORRO OM Ei FORBIDS ACARI L CO RabIC, HEE wo 5 AA Ko eS BREOTHS, ANOWM, BOLE, SoUHMORIEALAT TAR KE > CRHOSMIIRCR o TOS. SHEE 5 PEER ORAL? EMITTED 6 ORI A 2 3 C— FERNS. ECHDY SOE, SNORE MAHER OEE Bbo DOH, HAGMAN SD, RENSTELD Bo BER, YY FOP GA be EAOBEBES THE, 14 FSHFROBS, BRORMIAMEOE CACHE, BUNDLE EWTHs GIB). Thomo SEK, MAIMED 4 J-PEBHT SADIE SOTHS, Wk, TT HEROPRGBAL DAE RIAO— HEE CREE EDBATHS, OL), SAWLMOHOIALOM EAMES BABEL IT, MOM e LC OMAELIPS 5 2 9M S OCHS", KEAN LOVUNTS S (Bm, COMMONS OSG ME EHENA SAME RRM OMANTHS. LL XC, COMED FEMOCK pROMROUANC LB ONSO connection between the two parts of the building are held apart, ‘adding to the differentiated quality. Points of entry, places of ‘connection or change in building direction become selected for articulation by Aalto. ‘The idea of differentiations is intensified by the use of fragmented for incomplete building geometries. Often we see a regularized structural framework in juxtaposition to a fragmented envelope of enclosure, or vise versa. In other cases, such as inthe Enso-Guteit ‘Building, a seemingly regularized geometry will break apart or erode away. Ia the Seinajoki Town Hall (figure 23) a box-like frame is violated by the council chamber protruding out ofthe roof. In these instances, the regularized frame is used to intensify the Imagery of Jragmentation Thirdly, Aalto attempts to make his buit-works function as part ‘ofa larger context: an intention to produce a continuity of fabric through responses to specific aspects of the physical context.t@ ‘The Pensions Institute (Rgure 24) provides an excellent example of this, The trapezoidal site is bounded by differeing contextual situa tions; which are acknowledged in both plan form and through textures in the building envelope. The Scandinavian Bank in Helsinki which steps from seven down to three stories to acknow!- ‘edge an older neo-classical building, and the wall of the council ‘chamber in the Alaiirvi Town Hall which gestures to an old church are additional examples of this contextual responsiveness. To intensify the notion of differentiation and fragmentation, another image comes into play in Aaho's work: what George Baird {fines as a metaphor of ruin.1? OMT of the virtual image of a dema- terialized building totality, through the use of differentiation and fragmentation, is played another device—planting (figures 25 and Q-s¢rasie, 2B seusonmentmen, namaste plan ada cei of te Petr ine B Getrorame, e Pr tow. yaar CHSo CHI RMICAI ERGOME LTH, thie,

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