Alvar Aalto
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Transcript of Alvar Aalto
Hugo Alvar Henrik Aalto
Presented By:Manish SinghB.Arch 3061016
History of Modern Architecture
AR 306
February 3, 1898 — May 11, 1976
Introduction
Finnish architect and designer
"Father of Modernism" in the Scandinavian countries
Work includes architecture, furniture, textiles and glassware
born in Kuortane, Finland
His father, Johan Henrik Aalto, was a Finnish-speaking land-surveyor
married architect Aino Marsio, who became Aino Alto
In 1952 Aalto married architect Elissa Mäkiniemi
Nordic modernism
Humanistic Modernism
Functionalism
Bio Architecture
Philosophy:
Embodied Rationalism
Philosophy:
Nordic modernism
•First and most influential architects of Nordic modernism.
•Nordic countries architects were practicing so-called Nordic Classicism style - a style that had been a reaction to the previous dominant style of National Romanticism - before moving, in the late 1920s
•Aalto's career spans the changes in style from (Nordic Classicism) to purist International Style Modernism to a more personal, synthetic and idiosyncratic Modernism
Humanistic Modernism
• Viewed the machine age as dehumanizing and believed it harmed social relationships and human worth
• Humanistic design• Clear message: Aesthetics and functionality belong to all
Functionalism
Usage dictates the outward form, without regard to such traditional conceptions of symmetry, proportions, etc
•Strongly influenced by the nature : Finnish forests and lakes•Bio-climatic solutions•There is a particular care in the use of natural materials, in the insertion of the building in the naturalenvironment, in the best sunshine conditions and natural lighting.
Bio Architecture
Viipuri LibraryAlvar Alto
Vyborg, Russia1927-35
Won the design competition in 1927 :: Nordic Classicism
The final decision on the construction of the library was taken in September 1933
Its final form it represented International Modernism
Sunken reading-well, free-flowing ceilings and cylindrical skylights, first tested in Viipuri
Destroyed in WW2, for a decade
Below ground (-1)
Rotated Plan of Robie House : F.L.Wright (1906-10)
Second Floor (+1)
Palau Güell , Barcelona (1885-90) by Antoni Gaudi
LUDWIG MIES VAN DER ROHE
TUGENDHAT HOUSE, CZECH REPUBLIC, 1930, MIES VAN DER ROHE
Otaniemi Technical University Library
Alvar Alto ,Otaniemi, Finland,1964-69
Otaniemi Technical University Library Alvar Alto ,Otaniemi, Finland,1964-69
•Red brick, black granite, and copper
•University include the main building, the library, the shopping centre, and the water tower, with a crescent-shaped auditorium at the center
•International Style
•Campus buildings pivot around landmark form of main auditorium, reminiscent of a Greek Theater
Colloseum
Greek Theatre
Otaniemi Technical University Library
Otaniemi Technical University Library
LARKIN BUILDING, BUFFALO, NEW YORK, 1904; F.L. WRIGHT
Otaniemi Technical University Library
Otaniemi Technical University Library
VILLA SAVOYE, POISSY, FRANCE, 1928-29; ARCHITECT: LE CORBUSIER
Furniture
• Armchair 41
• Designed originally to exude warmth and humanity in a Finnish Hospital
• In the permanent collection of the
Museum of Modern Art. Barcelona Chair
Larkin Building , FLW
Robie House
Armchair 41Trolley 900
Stool 60Table 83
Glassware
• Aalto vase (Savoy)
• “With its asymmetric shape and freely curving tapering walls it represents the quintessential qualities of Finnish design: originality, organic form, straightforwardness, aesthetic sophistication” - www.aalto.com
• Resembles natural lakes, cut by trees• Still produced by Iittala Glassworks
Embodied Rationalism
Alvar Aalto is often treated as the most importantearly Modernist
who doesn’t fit
The mainstream, nearly filmicnarrative begins with the work of Frank Lloyd Wright, and then,in a series of cuts, presents a central cast of characters in whichLe Corbusier, Ludwig Mies van der Rohe,and Walter Gropius play leading roles
Many of his design methods contravenethe precepts by which Modernism is typically conceived
If Modernism was concerned with mass production, Aaltoalmost defiantly celebrated the irregularities and idiosyncraciesof handicraft.
If Modernism aspired to universalism, Aalto—putatively, at least—practiced particularism. If Modernistsembraced structural rationalism, or at least the pretense of it,Aalto exhibited an only occasional interest in exhibiting thestructure of his buildings.
Aalto refused to integrate structure with form and masked hybrid structural solutions freely: load-bearing masonry here, steel beams, orpoured concrete there.
If Modernism insisted upon the symbolicimportance and pragmatic superiority of new materials, Aaltoliberally mixed old with new—wood; stucco; reinforced, poured,and prefabricated concrete; steel; brick.
If Modernism suffered adeep ambivalence toward typology and historic precedent, Aaltofreely drew from Eric Gunnar Asplund’s Stockholm Public Library,Le Corbusier’s Villa Savoye, the Vesnin Brothers’ project forPravda, Italian Renaissance palazzi, Finnish country churches,Karelian courtyard farmhouses, Roman amphitheaters, and more.
Source ::Ultraviolet: Alvar Aalto’sEmbodied RationalismHoward Design Magazine (2008)
If Modernism mandated a functional approach to planning andconsequently a formal abstraction, Aalto’s buildings pulsate withfiguration and symbols.
If Modernism redefined architecture asspace, Aalto celebrated objectness. If Modernism whisperedor shouted transparency, Aalto’s buildings revel in their longpassages of opacity
Source ::Ultraviolet: Alvar Aalto’sEmbodied RationalismHoward Design Magazine (2008)
For Aalto, rationalism and humanism intermeshed so muchthat the concepts were practically coterminous.Aalto’s rationalism better describes the cognitive realities ofhuman experience than did the multifarious rationalismsadvanced by his contemporaneous Modernist colleagues.
Aalto’s conception of rationalism and place it within these longstandingintellectual traditions. Only then can the alternativenotion of rationalism, which I call embodied rationalism.
Conclusion
Embodied Rationalism : Alvar Alto
Thank You