Aalto in Detail (Céline Dietziker, Lukas Gruntz)

Aalto in Detail
- orderid - leh123050-1 - transid - leh123050-1 -

Aalto in Detail
A Catalog of
Components
Céline Dietziker Birkhäuser

Lukas Gruntz Basel
6 Preface
9 Essay
23 Porches
47 Ceilings
57 Pillars
77 Stairs
103 Balconies
115 Windows
181 Skylights
197 Garage Doors
209 Exterior Doors
259 Interior Doors
285 Lift Doors
293 Socle
309 Door Handles
339 Handrails
373 Railings
393 Drainage
401 Fireplaces
413 Fixtures
439 Exterior Lamps
460 Index
6
Keuruu at the Lake “ohra ahonlahti”, June 2019
“My name is Aalto, like the architect,” he told us in a friendly way.

He had caught us while we were sneaking around his apart-
ment building, taking photos of the garage doors. We were in
the middle of the National Pensions Institute apartment com-
plex, which the -Aaltos
- orderid built in the early
leh123050-1 1950s not-far
- transid from their own
leh123050-1 -
house. This was one of the special encounters that we experi-
enced during our journey through Finland in the summer of 2019,
on a hunt for traces of the Aaltos.
“What are you looking for here?” asked Mr. Aalto—who then insist-
ed on showing us his apartment. In this simple two-bedroom
worker’s apartment, the Aaltos’ talent for solving spatial and tec-
tonic problems could be seen and felt. Within a small space,
the transition between the kitchen and the dining room was skill-
fully resolved by means of a pantry with a built-in cupboard.
Of course, there had to be a communal sauna in the lower level
of the main structure.
After Mr. Aalto dropped off his son at soccer practice, he imme-
diately took us to two unknown houses in nearby Espoo that
were built during World War Two—simple, unpretentious wooden
houses. On arrival, we started a conversation with one of the
7
owners who invited us on a quick tour through her house. In the

detailed design of the stair banisters and the curved wooden
ceiling under the roof, the Aaltos’ hand was clearly recognizable.
This approach is present everywhere in the building: construc-
tion problems were handled with a passion and joy for design.
Wood was bent. Metal was covered in leather. Glazed ceramic
tubes direct light into the depths of the room.
Our extensive catalog of details is the result of this journey, when

we visited and documented almost fifty of the Aaltos’ buildings
from Helsinki, to Jyväskylä, to Turku. Our catalog is not intended
to be exhaustive; rather, as a photographic collection, it demon-
strates our love of details, which we rediscovered through the
work of the Aaltos—Aino ( 1894–1949 ), Alvar ( 1898–1976 ), and
Elissa ( 1922–94 ). This catalog of building elements serves as
- inspiration
orderidfor our own architectural
- leh123050-1 work. In-aleh123050-1
- transid world of digitalized
-
architecture, we should not forget the roots of architectural
culture: handcraft.
Céline Dietziker and Lukas Gruntz

Essay

10
Alvar, 14 years, 1912
“( ... ) Architecture and its details are in some way all part of biology.
Perhaps they are, for instance, like some big salmon or trout.
They are not born fully grown; they are not even born in the sea
or water where they normally live. They are born hundreds of
miles away from their home grounds, where the rivers narrow
to tiny streams, in clear rivulets between the fells, in the first
drops of water -from
- orderid the melting ice,
leh123050-1 as remote -from
- transid their normal -
leh123050-1
life as human emotion and instinct are from our everyday work.
Just as it takes time for a speck of fish spawn to mature into a fully-
grown fish, so we need time for everything that develops and
crystallizes in our world of ideas. Architecture demands even
more of this time than other creative work.” 1
Alvar Aalto’s essay, “The Trout and the Stream,” first appeared in the
fall of 1947 with the Italian title, “Architettura e arte concreta,”
in the architecture and design journal, DOMUS. For this issue, then
editor-in-chief Ernesto Nathan Rogers asked his Finnish friend
and colleague Aalto to share his thoughts on the relationship be-
tween architecture and art. The result is a very personal text.
Using compelling metaphors, Aalto recounts his own experiences
with architectural projects as well as experiments with wooden
furniture designs and sculptural work, which he carried out with
his first wife, Aino. In a conversational tone, he describes the
Ionic column capital and his love of Italian architectural culture.
11
Sun terrace, Sanatorium in Paimio ( 1930s )
He names three “essential” arts—sculpture, painting, and archi-

tecture—and discusses how the fields of architecture and
abstract art mutually inspire one another. Most significantly, how-
ever, he writes about architecture in respect to time, and the
importance of having enough of it to be able to develop an archi-
tectural idea.
At that point, Alvar Aalto had long been part of the international
architectural scene. Within a few years, he had evolved from
a young architect influenced by Nordic classicism into a staunch
advocate of functionalist modernism. However, the best-known
buildings from this early period, the Viipuri Library ( 1927–35 )
and the Paimio Sanatorium ( 1928–33 ), were already more than a
decade old, and in the interim he had become critical of pure
functionalism.2 During this time, his focus shifted to a humanistic
architecture that responded to the needs of people and the
natural environment. With great sensitivity, he and his first wife
Aino put this approach into practice in the Villa Mairea in
Noormarkku ( 1937–39 ). The town hall in Säynätsalo ( 1949–52 ),
and Alvar’s own experimental summer house built with his
second wife, Elissa, in Muuratsalo ( 1952–54 ), indicate further moves
toward the development of a Finnish regionalism employing
traditional materials and historical references.3
12
Site plan, Villa Mairea in Noormarkku ( 1938–39 )
These buildings created over a period of three decades are great

examples of Aino, Elissa, and Alvar Aalto’s openness to current
trends, as well as their constant search for distinctive themes.
As- different
orderidas-these buildings are,
leh123050-1 they all exhibit
- transid a love of
- leh123050-1 -
constructive detail. They are based not only on an interest in natural
materials and organic forms but also on a general understanding
of architecture as a comprehensive design task, first demonstrated
by the Defense Corps Building in Jyväskylä ( 1926–29 ). The
Aaltos’ intense engagement with interior design did not emerge
until the late 1920s with the winning of the Paimio competition.
Due to a lack of commissions during the Great Depression, Aino
and Alvar were forced to lay off almost all their staff.4 Since
they scarcely had any other commissions, they put all their time
and energy into detailing and designing the interiors and furni-
ture. The result was an impressive total work of art that became
a model for their later buildings and design objects.
An organic design concept had already been realized by the Aaltos

in Viipuri. Through the circular skylights and undulating ceiling,
the natural lighting and acoustics were improved upon, and a more
human atmosphere created. Bright colors, often applied in
13
Steps towards the courtyard, Townhall in Säynätsalo ( ca. 1952 )
Sample wall, Experimental House in Muuratsalo ( 1960s )
amorphous figures, and a diverse palette of materials for the

building elements served the same ends. Aino and Alvar Aalto’s
furniture and interior design elements were usually created
in conjunction with a building project. In their designs for lighting
fixtures, hardware, and glass objects, the same themes and
solutions run throughout their careers. Their passion for native
wood species was as much a part of this as their eagerness to
experiment with a wide variety of construction methods. By using
14
Entrance side, Defence Corps Building in Jyväskylä ( 1920s )
Auditorium, Library in Viipuri ( 1935 )
novel methods of bending wood, they were able to produce their

cantilever chairs.5 The transfer of a construction method previ-
ously used only for steel tubes to a natural material seems only
logical when one considers the Aaltos’ careers in retrospect.
Their breakthrough in furniture design came in 1932 with

“Number 41,” commonly known as the Paimio chair. When the
new sanatorium building was completed, enthusiastic articles
appeared in several major professional journals. Aino and Alvar
Aalto were celebrated as the ideal architect couple and invited
to events at home and abroad. Various architecture and design
15
Wooden mold and vase from the glass series “Savoy”, 1936
- exhibitions
orderid solidified not only their
- leh123050-1 reputation-inleh123050-1
- transid professional circles
-
but also their fame beyond. Their modern designs and the cor-
responding production capabilities made it possible to fabricate
good, affordable furniture for everyday use. An essential goal
and distribution company, Artek, which they cofounded in 1935,
played an important role in the emergence of a modern domes-
tic culture in Helsinki and the rest of Finland. The fact that Artek’s
advertising slogan for quality furniture, “Buy Now Keep Forever,”
still holds true today speaks for itself.
Much has been written and even more has been speculated
about Alvar Aalto’s two marriages and his collaborations with his
wives. One of the first publications about Alvar Aalto was the
—still today—remarkable three-volume edition by Artemis Verlag,
published in Zurich in 1963.6 The introduction to the first vol-
ume includes a lengthy, heartfelt note of thanks from Aalto to his
current and former collaborators. Along with a brief curriculum
vitae, the introduction explicitly states that he ran his office as a
16
Aino with Paimio-Chair, photographic experiment, ca. 1932
partnership with Aino Aalto from 1924 to 1949, and then with
Elissa Aalto from 1952 onward. This statement is confirmed by the
recollections of numerous employees and further supported
by the repeated observation that Alvar and Aino, and later Elissa,
complemented each other particularly well in the office setting,
both personally-and
- orderid professionally.-Despite
leh123050-1 transidthis,- all built projects -
leh123050-1
continue to be attributed to Alvar Aalto alone. It is astonishing
that, to this day, the achievements of his partners have not been
better researched and appropriately recognized.
The universal interest in the architecture of the three Aaltos

over generations is truly impressive. With their combination of
regional and international elements and use of traditional
building materials, their buildings have even become more con-
temporary. Alvar Aalto himself considered the transition from
a reinforced concrete aesthetic to wood and natural materials to
be the crucial turning point in the development of their archi-
tecture.7 The engagement with established construction methods
and the focus on typically Finnish building materials were prob-
ably the decisive factors behind the authentic uniqueness of their
buildings. Göran Schildt, who was on friendly terms with Alvar
Aalto and wrote several biographies of him, surmised that “the
basic essential of his achievement is that his roots are deep
17
Elissa and Alvar in the office in Helsinki, 1959
down in the Finnish soil.” 8 In an age that is increasingly marked by

generic projects, their authenticity is undoubtedly one reason
why the buildings of Alvar, Aino, and Elissa Aalto still have such
a strong impact.
- Alvar Aalto always

orderid preferred that
- leh123050-1 people experience
- transid his archi- -
- leh123050-1
tecture directly rather than just write about his buildings and the
ideas behind them.9 Since he and his partners worked on the
designs until the end, often making changes at the last moment
on the construction site, this is not surprising.10 Furthermore,
the relationship between inside and outside, which is so typical
for them, and the subtle mood of the spaces achieved through
direct and indirect lighting can only be perceived on location. The
same is true for the colors and the often lighthearted, playful
components. Only through close examination does it become
clear just how much passion went into the development and
execution of every single detail. This is even more impressive in
comparison with the situation today, when many architects
delegate their responsibility to specialists, which results in a cor-
responding decrease in architectural quality. That the Aaltos
would have handed over control of their designs or the execution
of their projects is simply unthinkable.
18
Experiment with plywood, 1934

In his essay mentioned above, Alvar Aalto also describes his pre-
ferred way of working. He presents his method of developing
an idea into a project as a meandering, unconscious process that
begins after he has ascertained the essential facts:
“I then move on to a method of working that is very much like ab-

stract art. I simply draw by instinct, not architectural syntheses,
but what are sometimes quite childlike compositions, and in this
way, on an abstract basis, the main idea gradually takes shape,
a kind of universal substance that helps me to bring the numer-
ous contradictory components into harmony.” 11
This almost poetic description corresponds with his comments

about the time factor in creative work. No one would deny that it
takes a lot of time as well as creative space to develop con-
vincing architectural ideas. Talking about the intelligence of the
fingers may sound strange at a time when pencils and sketch
19
Sketch for Library in Viipuri (1920s)
paper are hardly used anymore and work is increasingly done

digitally. By contrast, the topics and projects described here
clearly show the opportunities and also the qualities of the analog
manner of working.
The built work of Aino, Alvar, and Elissa Aalto is truly multifaceted,
joyfully exuberant in design, and at the same time authentic.
The Aaltos felt as much responsibility for the context as for the
exterior and interior of their buildings. But the strong relation-
- ship between
orderid the various elements
- leh123050-1 of their architecture
- transid - leh123050-1is most-
clearly revealed in their love for the smallest building compo-
nents—the details.
This catalog demonstrates that these are the very soul of their total
works of art. Through intense commitment, careful selection
of materials, and use of their own photographs, Céline Dietziker
and Lukas Gruntz have thoroughly explored this aspect of the
work of the three Aaltos. They deserve full recognition and heart-
felt thanks for this valuable, groundbreaking study.
Annette Helle
Zurich, Spring 2022
20 1 Alvar Aalto, “The Trout and the Stream,” [ 1948 ] in:
G. Schildt, ed., Alvar Aalto in His Own Words ( Helsinki:
Otava, 1991 ), 108–9.
2 “Aalto’s lifelong attempt to satisfy social and psychological
criteria effectively set him apart from the more dogmatic
Functionalists of the 1920s, whose careers were already
established when he designed his first significant works.”
Kenneth Frampton, Modern Architecture: A Critical History
( London: Thames and Hudson, 1996 ), 202.
3 Ibid.
4 Göran Schildt, Moderna tider. Alvar Aaltos möte med
funktionalismen ( Stockholm: Wahlström & Widstrand,
1985 ), 85.
5 This new method for manufacturing bentwood was
developed with the help of the Korhonen furniture factory,
and patented in 1933. See exhibition catalog: Enrico Baleri,
Marco Meneguzzo, and Comitato organizzatore salone del
mobile italiano, eds., Alvar Aalto ( Milan: Cosmit, 1998 ), 30.
6 Karl Fleig, ed., Alvar Aalto Band I 1922–62 (Zürich:
Artemis–Verlag für Architektur, 1963), 6–7.
7 Frampton, Modern Architecture, 202.
8 Göran Schildt, “Alvar Aalto,” in: Fleig, Alvar Aalto, 15.
9 Michael Trencher, The Alvar Aalto Guide ( New York:
Princeton Architectural Press, 1996 ), 23.
10 Pallasmaa, “From Tectonics,” 39.
11 Aalto, “The Trout and the Stream.”
Porches
Vordächer

24
Cultural Centre
Helsinki, Finland
1952–1958
25
Public Pensions Institute

Helsinki, Finland
1953–1956
26
Housing Area Sunila Paper Mill

Kotka, Finland
1936–1938, 1947, 1951–1954
27

Kotka, Finland
1936–1938, 1947, 1951–1954
28
Student Union Building

Jyväskylä, Finland
1961–1964
29

1961–1964
30
Architect’s House
Helsinki, Finland
1935–1936
31
Architect’s House
Helsinki, Finland
1935–1936
32
Theatre
Seinäjoki, Finland
1961–1987
33
Villa Mairea
Noormarkku, Finland
1937–1939
34
Villa Mairea
Noormarkku, Finland
1937–1939
35
Lohiluoma Residential Building

Kauttua, Finland
1942
36
Pedagogical University
1952–1954
37
Tuberculosis Sanatorium
Paimio, Finland
1929–1933
38
Paimio, Finland
1929–1933
39
Paimio, Finland
1929–1933
40
Villa Kokkonen
Järvenpää, Finland
1967–1969
41

Kotka, Finland
1936–1938, 1947, 1951–1954
42
Villa Mairea
Noormarkku, Finland
1937–1939
43
Paimio, Finland
1929–1933
44
Library of the Institute of Technology

Espoo, Finland
1964–1970
45
Church
Seinäjoki, Finland
1951–1960
48
University of Jyväskylä Main Building

1954–1956
49
Church
Seinäjoki, Finland
1951–1960
50
Concert and Convention Hall

Helsinki, Finland
1967–1971
51
Cultural Centre
Helsinki, Finland
1952–1958
52
Maison Louis Carré

Bazoches-sur-Guyonne, France
1956–1959, 1961–1963
53
Cultural Centre
Helsinki, Finland
1952–1958
54

Helsinki, Finland
1953–1956
55
Architect’s Studio
Helsinki, Finland
1954–1955, 1962–1963
Pillars
Stützen
-
58
Villa Mairea
Noormarkku, Finland
1937–1939
59
Villa Mairea
Noormarkku, Finland
1937–1939
60
Enso Gutzeit Housing

Hamina, Finland
1951–1953
61
Maison Louis Carré

1956–1959, 1961–1963
62
Faculty of Sport and Health

1971
63

Espoo, Finland
1964–1970
64

1954–1956
65
Theatre
Seinäjoki, Finland
1961–1987
66
Architect’s House
Helsinki, Finland
1935–1936
67
Main Building of the Institute of Technology

Espoo, Finland
1955–1964
68
Architect’s House
Helsinki, Finland
1935–1936
69

Helsinki, Finland
1967–1975
70

Helsinki, Finland
1953–1956
71

Espoo, Finland
1955–1964
72

Helsinki, Finland
1967–1975
73
Administration Building for the City Electic Co.

Helsinki, Finland
1965–1976
74
Headquarters of Enso-Gutzeit
Helsinki, Finland
1959–1962
75
Library
Seinäjoki, Finland
1960–1965
78

Helsinki, Finland
1967–1975
79
Town Hall
Säynätsalo, Finland
1949–1952
80
Town Hall
1949–1952
81
Maison Louis Carré

1956–1959, 1961–1963
82

1954–1956
83
Villa Mairea
Noormarkku, Finland
1937–1939
84
Administration Building for the City Electric Co.

Helsinki, Finland
1965–1976
85
Rautatalo Office Building

Helsinki, Finland
1951–1955
86

Helsinki, Finland
1953–1956
87
Architect’s House
Helsinki, Finland
1935–1936
88
Architect‘s Studio
Helsinki, Finland
1954–1955, 1962–1963
89
Architect’s House
Helsinki, Finland
1935–1936
90

Helsinki, Finland
1953–1956
91

Espoo, Finland
1955–1964
92

Espoo, Finland
1964–1970
93

1954–1956
94
Town Hall
1949–1952
95

1954–1956
96
1952–1954
97
Library
Seinäjoki, Finland
1960–1965
98
Church
Seinäjoki, Finland
1951–1960
99
Paimio, Finland
1929–1933
100
Paimio, Finland
1929–1933
101
Turun Sanomat Newspaper Office

Turku, Finland
1928–1929
Balconies
Balkone
104

Kotka, Finland
1936–1938, 1947, 1951–1954
105

Kotka, Finland
1936–1938, 1947, 1951–1954
106

Kotka, Finland
1936–1938, 1947, 1951–1954
107

Kotka, Finland
1936–1938, 1947, 1951–1954
108
Paimio, Finland
1929–1933
109
Aira Building
1924–1926
110
Paimio, Finland
1929–1933
111
Paimio, Finland
1929–1933
112
Villa Mairea
Noormarkku, Finland
1937–1939
113
Housing for the Personnel of the Public Pensions Institute

Helsinki, Finland
1952–1954
Windows
Fenster
116
Town Hall
1949–1952
117
Summer House
Muuratsalo, Finland
1952–1954
118
Helsinki, Finland
1954–1955, 1962–1963
119
Farmers Co-operative Building

Turku, Finland
1927–1928
120
Helsinki, Finland
1959–1962
121

Helsinki, Finland
1965–1976
122

Helsinki, Finland
1951–1955
123
Administration Building of the Scandinavian Bank

Helsinki, Finland
1960–1965
124

Helsinki, Finland
1952–1954
125
Harjuviita Apartment Houses

Espoo, Finland
1962–1964
126
Town Hall
1949–1952
127
Town Hall
1949–1952
128
Paimio, Finland
1929–1933
129
Paimio, Finland
1929–1933
130

1961–1964
131
Summer House
Muuratsalo, Finland
1952–1954
132
Terrace Housing
Kauttua, Finland
1937–1938
133
Terrace Housing
Kauttua, Finland
1937–1938
134
Paimio, Finland
1929–1933
135
Paimio, Finland
1929–1933
136
Helsinki, Finland
1935–1936
137
Villa Kokkonen
1967–1969
138
Villa Skeppet / Villa Schildt

Tammisaari, Finland
1969–1970
139
Maison Louis Carré

1956–1959, 1961–1963
140
Building of the Association of Finnish Engineers

Helsinki, Finland
1948–1952
141

Espoo, Finland
1955–1964
142
Town Hall
1949–1952
143

1961–1964
144
Town Hall
1949–1952
145
Town Hall
1949–1952
146
Cultural Centre
Helsinki, Finland
1952–1958
147
Library
Seinäjoki, Finland
1960–1965
148

Espoo, Finland
1955–1964
149
Paimio, Finland
1929–1933
150
Helsinki, Finland
1954–1955, 1962–1963
151
Helsinki, Finland
1954–1955, 1962–1963
152
Theatre
1964–1982
153
Theatre
Seinäjoki, Finland
1964–1968
154
Town Hall
1949–1952
155
Town Hall
1949–1952
156
Helsinki, Finland
1935–1936
157
Helsinki, Finland
1935–1936
158
Helsinki, Finland
1954–1955, 1962–1963
159
Helsinki, Finland
1954–1955, 1962–1963
160
Helsinki, Finland
1954–1955, 1962–1963
161
Villa Mairea
Noormarkku, Finland
1937–1939
162
Maison Louis Carré

1956–1959, 1961–1963
163
Maison Louis Carré

1956–1959, 1961–1963
164
Church
Seinäjoki, Finland
1951–1960
165
Library
Seinäjoki, Finland
1960–1965
166
Helsinki, Finland
1935–1936
167
Maison Louis Carré

1956–1959, 1961–1963
168
Theatre
1964–1982
169
Theatre
Seinäjoki, Finland
1964–1968
170
Theatre
1964–1982
171
Alvar Aalto Museum

1971–1973
172
Town Hall
Seinäjoki, Finland
1958–1960
173

Espoo, Finland
1955–1964
174

1961–1964
175
Town Hall
1949–1952
176

Espoo, Finland
1964–1970
177
Town Hall
1949–1952
178
Town Hall
1949–1952
179
Town Hall
1949–1952
Skylights
Oberlichter
182

1961–1964
183
Helsinki, Finland
1959–1962
184

Helsinki, Finland
1960–1965
185

Espoo, Finland
1964–1970
186

Helsinki, Finland
1951–1955
187

1954–1956
188

Helsinki, Finland
1953–1956
189
Helsinki, Finland
1954–1955, 1962–1963
190

Helsinki, Finland
1965–1976
191

Helsinki, Finland
1953–1956
192
Academic Bookshop
Helsinki, Finland
1961–1969
193
Church
Lahti, Finland
1969–1979
194
Helsinki, Finland
1954–1955, 1962–1963
195
Helsinki, Finland
1954–1955, 1962–1963
Garage Doors
Garagentore
198
Summer House
Muuratsalo, Finland
1952–1954
199
Library
Seinäjoki, Finland
1960–1965
200
Helsinki, Finland
1954–1955, 1962–1963
201
Architect’s House
Helsinki, Finland
1935–1936
202
Alvar Aalto Museum

1971–1973
203
Villa Kokkonen
1967–1969
204

Hamina, Finland
1951–1953, 1970–1972
205

Kotka, Finland
1936–1938, 1947, 1951–1954
206
Helsinki, Finland
1959–1962
207

Helsinki, Finland
1952–1954
Exterior Doors
Außentüren
210
Church
Seinäjoki, Finland
1951–1960
211
Helsinki, Finland
1954–1955, 1962–1963
212
Helsinki, Finland
1954–1955, 1962–1963
213
Architect’s House
Helsinki, Finland
1935–1936
214
Architect’s House
Helsinki, Finland
1935–1936
215
Architect’s House
Helsinki, Finland
1935–1936
216

Hamina, Finland
1951–1953, 1970–1972
217

Espoo, Finland
1962–1964
218
Church
Seinäjoki, Finland
1951–1960
219

Hamina, Finland
1951–1953, 1970–1972
220

1961–1964
221

Espoo, Finland
1955–1964
222
Summer House
Muuratsalo, Finland
1952–1954
223
Summer House
Muuratsalo, Finland
1952–1954
224
Villa Mairea
Noormarkku, Finland
1937–1939
225
Maison Louis Carré

1956–1959, 1961–1963
226
Sauna and Laundry

Kauttua, Finland
1940–1941
227
Sauna and Laundry

Kauttua, Finland
1940–1941
228
Defence Corps Building

Seinäjoki, Finland
1924–1926
229
Villa Mairea
Noormarkku, Finland
1937–1939
230

Helsinki, Finland
1965–1976
231

Helsinki, Finland
1953–1956
232
Church
Lahti, Finland
1969–1979
233
Workers Club
1924–1925
234
Church
Seinäjoki, Finland
1951–1960
235
Alvar Aalto Museum

1971–1973
236
Church
Seinäjoki, Finland
1951–1960
237
Church
Seinäjoki, Finland
1951–1960
238

Helsinki, Finland
1952–1954
239

Helsinki, Finland
1952–1954
240

Espoo, Finland
1955–1964
241
Cultural Centre
Helsinki, Finland
1952–1958
242

Espoo, Finland
1962–1964
243
Villa Kokkonen
1967–1969
244

Kotka, Finland
1936–1938, 1947, 1951–1954
245

Kotka, Finland
1936–1938, 1947, 1951–1954
246

Hamina, Finland
1951–1953, 1970–1972
247
Town Hall
1949–1952
248

1961–1964
249
Summer House
Muuratsalo, Finland
1952–1954
250
Church
Seinäjoki, Finland
1951–1960
251
Villa Schildt (Villa Skeppet)

Tammisaari, Finland
1969–1970
252

Seinäjoki, Finland
1924–1926
253

Turku, Finland
1927–1928
254

1954–1956
255
Central Finnish Museum

1956–1961
256
Standard Apartment Building

Turku, Finland
1927–1928
257
Standard Apartment Building

Turku, Finland
1927–1928
Interior Doors
Innentüren
260

Helsinki, Finland
1951–1955
261

Helsinki, Finland
1953–1956
262

Espoo, Finland
1955–1964
263
Maison Louis Carré

1956–1959, 1961–1963
264
Church
Seinäjoki, Finland
1951–1960
265
Maison Louis Carré

1956–1959, 1961–1963
266
Town Hall
1949–1952
267
Maison Louis Carré

1956–1959, 1961–1963
268

1954–1956
269

Helsinki, Finland
1951–1953, 1970–1972
270
Theatre
Seinäjoki, Finland
1961–1987
271

1954–1956
272

Espoo, Finland
1955–1964
273

1971
274
Paimio, Finland
1929–1933
275

Espoo, Finland
1964–1970
276
Church
Lahti, Finland
1969–1979
277

Espoo, Finland
1955–1964
278

Espoo, Finland
1955–1964
279
Church
Seinäjoki, Finland
1951–1960
280

Espoo, Finland
1955–1964
281
Church
Seinäjoki, Finland
1951–1960
282
Town Hall
Seinäjoki, Finland
1958–1960
283
Town Hall
1949–1952
Lift Doors
Aufzugstüren
286

Helsinki, Finland
1951–1955
287

Helsinki, Finland
1953–1956
288
Church
Lahti, Finland
1969–7199
289
Academic Bookshop
Helsinki, Finland
1961–1969
290

Helsinki, Finland
1965–1976
291

Helsinki, Finland
1951–1955
Socle
Sockel
294
Summer House
Muuratsalo, Finland
1952–1954
295
Helsinki, Finland
1954–1955, 1962–1963
296
Aira Building
1924–1926
297

Seinäjoki, Finland
1924–1926
298
Cultural Centre
Helsinki, Finland
1952–1958
299
Villa Mairea
Noormarkku, Finland
1937–1939
300
Church
Lahti, Finland
1969–1979
301
Villa Kokkonen
1967–1969
302

1961–1964
303
Alvar Aalto Museum

1971–1973
304
Housing
Espoo, Finland
1940
305
Church
Muurame, Finland
1926–1929
306

Helsinki, Finland
1953–1956
307

Espoo, Finland
1955–1964
Door Handles
Türgriffe
310
Sauna and Laundry

Kauttua, Finland
1940–1941
311

1961–1964
312

Helsinki, Finland
1952–1954
313
Cultural Centre
Helsinki, Finland
1952–1958
314

Helsinki, Finland
1953–1956
315

1971
316
Maison Louis Carré

1956–1959, 1961–1963
317
Viitatorni Highrise Apartment House

1960–1961
318
Town Hall
1949–1952
319
Villa Mairea
Noormarkku, Finland
1937–1939
320
Town Hall
1949–1952
321

Helsinki, Finland
1952–1954
322
Helsinki, Finland
1959–1962
323

Helsinki, Finland
1967–1975
324

Helsinki, Finland
1953–1956
325
Workers Club
1924–1925
326

Turku, Finland
1927–1928
327

Seinäjoki, Finland
1924–1926
328
Villa Mairea
Noormarkku, Finland
1937–1939
329
Villa Mairea
Noormarkku, Finland
1937–1939
330
Helsinki, Finland
1954–1955, 1962–1963
331
Villa Mairea
Noormarkku, Finland
1937–1939
332
Architect’s House
Helsinki, Finland
1935–1936
333
Paimio, Finland
1929–1933
334

Helsinki, Finland
1967–1975
335
Church
Lahti, Finland
1969–1979
336
Church
Lahti, Finland
1969–1979
337
Academic Bookshop
Helsinki, Finland
1961–1969
Handrails
Handläufe

340

Espoo, Finland
1955–1964
341

Espoo, Finland
1955–1964
342
Town Hall
1949–1952
343
Library
Seinäjoki, Finland
1960–1965
344
Architect’s House
Helsinki, Finland
1935–1936
345
Town Hall
Seinäjoki, Finland
1958–1960
346

1954–1956
347
Maison Louis Carré

1956–1959, 1961–1963
348
1952–1954
349

1954–1956
350

Helsinki, Finland
1960–1965
351

Espoo, Finland
1955–1964
352

Espoo, Finland
1955–1964
353

Espoo, Finland
1955–1964
354

1954–1956
355

1954–1956
356

Helsinki, Finland
1967–1975
357
Church
Seinäjoki, Finland
1951–1960
358
Helsinki, Finland
1954–1955, 1962–1963
359

1954–1956
360
Academic Bookshop
Helsinki, Finland
1961–1969
361
Alvar Aalto Museum

1971–1973
362
Theatre
Seinäjoki, Finland
1961–1987
363

Helsinki, Finland
1965–1976
364

Turku, Finland
1928–1929
365
Paimio, Finland
1929–1933
366
Paimio, Finland
1929–1933
367

Turku, Finland
1928–1929
368
Cultural Centre
Helsinki, Finland
1952–1958
369
Theatre
1964–1982
370

Helsinki, Finland
1967–1975
371

Helsinki, Finland
1967–1975
Railings
Geländer

374

1954–1956
375
1952–1954
376

Espoo, Finland
1955–1964
377
Church
Lahti, Finland
1969–1979
378
Maison Louis Carré

1956–1959, 1961–1963
379

1954–1956
380
Town Hall
Seinäjoki, Finland
1958–1960
381
1952–1954
382
Library
Seinäjoki, Finland
1960–1965
383
Paimio, Finland
1929–1933
384
Paimio, Finland
1929–1933
385
Town Hall
1949–1952
386

Kauttua, Finland
1942
387
Terrace Housing
Kauttua, Finland
1937–1938
388
Architect’s House
Helsinki, Finland
1935–1936
389
Villa Mairea
Noormarkku, Finland
1937–1939
390
Villa Kokkonen
1967–1969
391
Maison Louis Carré

1956–1959, 1961–1963
Drainage
Entwässerung

394
Town Hall
Seinäjoki, Finland
1958–1960
395
Summer House
Muuratsalo, Finland
1952–1954
396
Maison Louis Carré

1956–1959, 1961–1963
397
Villa Mairea
Noormarkku, Finland
1937–1939
398
Maison Louis Carré

1956–1959, 1961–1963
399
Maison Louis Carré

1956–1959, 1961–1963
Fireplaces
Kamine
402
Architect’s House
Helsinki, Finland
1935–1936
403
Architect’s House
Helsinki, Finland
1935–1936
404

1961–1964
405

1961–1964
406
Summer House
Muuratsalo, Finland
1952–1954
407
Summer House
Muuratsalo, Finland
1952–1954
408
Villa Mairea
Noormarkku, Finland
1937–1939
409
Paimio, Finland
1929–1933
410
Maison Louis Carré

1956–1959, 1961–1963
411
Maison Louis Carré

1956–1959, 1961–1963
Fixtures
Einbauten
414

1971
415
Paimio, Finland
1929–1933
416
Cultural Centre
Helsinki, Finland
1952–1958
417

1954–1956
418
Alvar Aalto Museum

1971–1973
419
Paimio, Finland
1929–1933
420
Alvar Aalto Museum

1971–1973
421

1954–1956
422
Paimio, Finland
1929–1933
423
Paimio, Finland
1929–1933
424
Maison Louis Carré

1956–1959, 1961–1963
425
Architect’s House
Helsinki, Finland
1935–1936
426
Terrace Housing
Kauttua, Finland
1937–1938
427
Maison Louis Carré

1956–1959, 1961–1963
428
Helsinki, Finland
1954–1955, 1962–1963
429
Helsinki, Finland
1954–1955, 1962–1963
430
Town Hall
1949–1952
431
Church
Seinäjoki, Finland
1951–1960
432
Church
Lahti, Finland
1969–1979
433
Church
Seinäjoki, Finland
1951–1960
434
Town Hall
Seinäjoki, Finland
1958–1960
435
Town Hall
1949–1952
436
Library
Seinäjoki, Finland
1960–1965
437
Church
Seinäjoki, Finland
1951–1960
Exterior Lamps
Außenleuchten

440
Theatre
Seinäjoki, Finland
1961–1987
441
Villa Mairea
Noormarkku, Finland
1937–1939
442

Helsinki, Finland
1967–1975
443
Villa Mairea
Noormarkku, Finland
1937–1939
444

Hamina, Finland
1951–1953, 1970–1972
445

Espoo, Finland
1955–1964
446
Villa Kokkonen
1967–1969
447
Villa Mairea
Noormarkku, Finland
1937–1939
448

Helsinki, Finland
1967–1975
449
Church
Lahti, Finland
1969–1979
450
Helsinki, Finland
1954–1955, 1962–1963
451
Cultural Centre
Helsinki, Finland
1952–1958
452

Helsinki, Finland
1953–1956
453
Church
Seinäjoki, Finland
1951–1960
454

1954–1956
455
Cultural Centre
Helsinki, Finland
1952–1958
456
Academic Bookshop
Helsinki, Finland
1961–1969
457
Cultural Centre
Helsinki, Finland
1952–1958
458
Town Hall
1949–1952
459
Theatre
Seinäjoki, Finland
1961–1987
460 Index
BAZOCHES-SUR-GUYONNE Concert and Convention Hall

Villa Louis Carré 50, 69, 72, 78, 323, 334, 356, 370, 371,
52, 61, 81, 139, 162, 163, 167, 225, 263, 442, 448
265, 267, 316, 347, 378, 391, 396, 398,
Cultural Centre
399, 410, 411, 424, 427
24, 51, 53, 146, 241, 298, 313, 368, 416,
451, 455, 457
ESPOO
Harjuviita Apartment Houses Headquarters of Enso-Gutzeit
125, 217, 242 74, 120, 183, 206, 322
Housing Housing for the Personnel of the Public
304 Pensions Institute
113, 124, 207, 238, 239, 269, 312, 321
44, 63, 92, 176, 185, 275 Public Pensions Institute
25, 54, 70, 86, 90, 188, 191, 231, 261, 287,
306, 314, 324, 452
67, 71, 91, 141, 148, 173, 221, 240, 262,
272, 277, 278, 280, 307, 340, 341, 351, Rautatalo Office Building
352, 353, 376, 445 85, 122, 186, 260, 286, 291
HAMINA JÄRVENPÄÄ
Enso Gutzeit Housing Villa Kokkonen
60, 204, 216, 219, 246, 444
- orderid - leh123050-1 - transid - leh123050-1 - 40, 137, 203, 243, 301, 390, 446
HELSINKI JYVÄSKYLÄ
Academic Bookshop Aira Building
192, 289, 337, 360, 456 109, 296
Administration Building for the City Electic Co. Alvar Aalto Museum
73, 84, 121, 190, 230, 290, 363 171, 202, 235, 303, 361, 418, 420
Administration Building of the Scandinavian Central Finnish Museum
Bank 255
123, 184, 350
Architect’s House 62, 273, 315, 414
30, 31, 66, 68, 87, 89, 136, 156, 157, 166,
201, 213, 214, 215, 332, 344, 388, 402,
36, 96, 348, 375, 381
403, 425
28, 29, 130, 143, 174, 182, 220, 248, 302,
55, 88, 118, 150, 151, 158, 159, 160, 189,
311, 404, 405
194, 195, 200, 211, 212, 295, 330, 358,
428, 429, 450 Theatre
152, 168, 170, 369
Building of the Association of Finnish
Engineers University of Jyväskylä Main Building
140 48, 64, 82, 93, 95, 187, 254, 268, 271,
346, 349, 354, 355, 359, 374, 379, 417,
421, 454
461
Viitatorni Highrise Apartment House SÄYNÄTSALO

317 Town Hall
79, 80, 94, 116, 126, 127, 142, 144, 145,
Workers Club
154, 155, 175, 177, 178, 179, 247, 266, 283,
233, 325
318, 320, 342, 385, 430, 435, 458
KAUTTUA
SEINÄJOKI
Church
35, 386
45, 49, 98, 164, 210, 218, 234, 236, 237,
Sauna and Laundry 250, 264, 279, 281, 357, 431, 433, 437,
226, 227, 310 453
Terrace Housing Defence Corps Building
132, 133, 387, 426 228, 252, 297, 327
Library
KOTKA
75, 97, 147, 165, 199, 343, 382, 436
26, 27, 41, 104, 105, 106, 107, 205, 244, Theatre
245 32, 65, 153, 169, 270, 362, 440, 459
Town Hall
LAHTI
172, 282, 345, 380, 394, 434
Church
193, 232, 276, 288, 300, 335, 336, 377,
- orderid - leh123050-1 - transid
TAMMISAARI- leh123050-1 -
432, 449
Villa Schildt ( Villa Skeppet )
138, 251
MUURAME
Church
TURKU
305
119, 253, 326
MUURATSALO
Summer House Standard Apartment Building
117, 131, 198, 222, 223, 249, 294, 395, 256, 257
406, 407
101, 364, 367
NOORMARKKU
Villa Mairea
33, 34, 42, 58, 59, 83, 112, 161, 224, 229,
299, 319, 328, 329, 331, 389, 397, 408,
441, 443, 447
PAIMIO
37, 38, 39, 43, 99, 100, 108, 110, 111, 128,
129, 134, 135, 149, 274, 333, 365, 366,
383, 384, 409, 415, 419, 422, 423
462 About the Authors
Annette Helle
Born and raised in Oslo, Annette Helle is a graduate of ETH Zurich
and TU Delft. She lives in Zurich, where she has run the office of Helle
Architektur since 2001. She has held the position of professor for
design and construction in the Architecture Institute of FHNW Muttenz
since 2010, and she has institute director since 2019.
Céline Dietziker
After training as a draftsperson, Céline Dietziker received her degrees
from FHNW Muttenz and the École Nationale Supérieure d‘Architecture
de Paris-Belleville. She has worked in numerous architecture offices
in Basel. Currently, she is an editor at Architektur Basel and a trustee at
the Architektur Dialoge Basel Foundation. Together with Lukas Gruntz,
she has run the office of Atelier Atlas Architektur in Basel since 2021.
Lukas Gruntz
Lukas Gruntz is a graduate of FHNW in Muttenz and Basel, as well as
of the École Nationale Supérieure d‘Architecture de Paris-Belleville.
He has worked in architecture offices in Basel, Zurich, and Tokyo. An
editor at Architektur Basel, he is also a regular contributor to various
architectural journals. Together with Céline Dietziker, he has run the
office of Atelier Atlas Architektur in Basel since 2021.
463 Acknowledgments
We would like to thank everyone who was involved with this book
project, especially Annette Helle for her factual, conceptual, and
inspirational support, as well as her insightful text, which contextualized
our research. Alexander Felix and Katharina Kulke deserve our
gratitude for the stimulating, productive collaboration; they made it
possible for the book to appear in this form. We also thank Philipp
Möckli and Adrian Schnegg for their fantastic graphic design, which
provided the ideal framework for the content. We would especially
like to thank Anita Hede and Bruno Trinkler for their generous support.
In addition, we are grateful to all the people we met in Finland while
visiting the Aaltos’ buildings.
With the kind support of

Picture Credit
Alvar Aalto Foundation: p. 8, 9 ( Photo: Gustaf Welin ), 10, 11 top
( Photo: Eino Mäkinen ), 11 bottom ( Photo: Heikki Havas ), 12 bottom
( Photo: Gustaf Welin ), 13 ( Photo: Martti Kapanen ), 14 ( Photo: Artek
Collection / Alvar Aalto Foundation ), 15 ( Photo: propably Christian
Leclerc ), 16 ( Photo: Kolmio, Artek Collection / Alvar Aalto Foundation)
The Museum of Central Finland: p. 12 top ( Photo: Valokuvaamo
Päijänne )
Aalto family collection: p. 17
All other photographies are by Céline Dietziker and Lukas Gruntz.
Translation from German into English: David Haney

Copy editing: John Sweet
Project management: Alexander Felix, Katharina Kulke
Production: Heike Strempel
Layout, cover design and typesetting:
Début Début, Philipp Möckli and Adrian Schnegg
Image Editing: LVD Gesellschaft für Datenverarbeitung mbH, Berlin
Printing: Grafisches Centrum Cuno GmbH & Co. KG, Calbe
Paper: 120 g/m² Amber Graphic
Library of Congress Control Number: 2022930843
Bibliographic information published by the German National Library

The German National Library lists this publication in the Deutsche
Nationalbibliografie; detailed bibliographic data are available on the
Internet at http://dnb.dnb.de.
This work is subject to copyright. All rights are reserved, whether the
whole or part of the material is concerned, specifically the rights
of translation, reprinting, re-use of illustrations, recitation, broadcasting,
reproduction on microfilms or in other ways, and storage in databases.
For any kind of use, permission of the copyright owner must be obtained.
ISBN 978-3-0356-2332-1
e-ISBN ( PDF ) 978-3-0356-2334-5
German Print-ISBN 978-3-0356-2331-4
© 2022 Birkhäuser Verlag GmbH, Basel

P.O. Box 44, 4009 Basel, Switzerland
Part of Walter de Gruyter GmbH, Berlin / Boston
987654321 www.birkhauser.com

Aalto in Detail (Céline Dietziker, Lukas Gruntz)

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Aalto in Detail

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Céline Dietziker Birkhäuser

Keuruu at the Lake “ohra ahonlahti”, June 2019

“My name is Aalto, like the architect,” he told us in a friendly way.

owners who invited us on a quick tour through her house. In the

Our extensive catalog of details is the result of this journey, when

Céline Dietziker and Lukas Gruntz

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Alvar, 14 years, 1912

Sun terrace, Sanatorium in Paimio ( 1930s )

He names three “essential” arts—sculpture, painting, and archi-

Site plan, Villa Mairea in Noormarkku ( 1938–39 )

These buildings created over a period of three decades are great

An organic design concept had already been realized by the Aaltos

Steps towards the courtyard, Townhall in Säynätsalo ( ca. 1952 )

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Sample wall, Experimental House in Muuratsalo ( 1960s )

amorphous figures, and a diverse palette of materials for the

Entrance side, Defence Corps Building in Jyväskylä ( 1920s )

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Auditorium, Library in Viipuri ( 1935 )

novel methods of bending wood, they were able to produce their

Their breakthrough in furniture design came in 1932 with

Aino with Paimio-Chair, photographic experiment, ca. 1932

The universal interest in the architecture of the three Aaltos

Elissa and Alvar in the office in Helsinki, 1959

down in the Finnish soil.” 8 In an age that is increasingly marked by

- Alvar Aalto always

Experiment with plywood, 1934

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“I then move on to a method of working that is very much like ab-

This almost poetic description corresponds with his comments

Sketch for Library in Viipuri (1920s)

paper are hardly used anymore and work is increasingly done

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Public Pensions Institute

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Housing Area Sunila Paper Mill

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Housing Area Sunila Paper Mill

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Student Union Building

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Student Union Building

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Lohiluoma Residential Building

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Housing Area Sunila Paper Mill

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