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AR.

ALVAR AALTO
(1898 – 1976)
• Hugo Alvar Henrik Aalto( 3
February 1898 – 11 May 1976)
was a Finnish architect and
designer, as well as a sculptor and
painter.
• His work includes architecture,
furniture, textiles and glassware.
• Aalto's early career runs in
parallel with the rapid economic
growth and industrialization of
Finland during the first half of the
twentieth century and many of
his clients were industrialists;
among these were the Ahlström-
Gullichsen family.
• The span of his career, from the 1920s
to the 1970s, is reflected in the styles
of his work, ranging from Nordic
Classicism of the early work, to a
rational International Style
Modernism during the 1930s to a
more organic modernist style from
the 1940s onwards.
• His furniture designs were considered
Scandinavian Modern.
• What is typical for his entire career,
however, is a concern for design as a
Gesamtkunstwerk, a total work of art;
whereby he – together with his first
wife Aino Aalto – would design not
just the building, but give special
treatments to the interior surfaces
and design furniture, lamps, and
furnishings and glassware.
• Furniture and glassware's
WORKS OF ALVAR
AALTO
WORKERS CLUB
(1924)
WORKERS CLUB (1924)
ARCHITECTURAL SYLE: Nordic Classical

FEATURES:
• Discontinuous glazing on all four sides at
entrance level.
• This building houses a restaurant and a
coffee bar which supports the auditorium
above.
• He employs various classical devices:
1. Circular atrium
2. Doric columns
3. Palladian window
4. Cartouches to decorate
the stuccoes wall.
A.
A.
B.

B.

GROUND FLOOR PLAN

C.

C.

FIRST FLOOR PLAN


D.

D.

SECOND FLOOR PLAN

SECTION
AA’
• Implied Symmetry on
the longer elevation
but its symmetrical
on the shorter sides.
• The elements of the
building are either
squares or multiple of
squares.
• The Palladian window
is symmetrically
placed relative to the
auditorium.
• Vernacular timber
detailing for the stairs
PAIMIO SANATORIUM
(1929-1933)
PAIMIO SANATORIUM (1929-33)
ARCHITECTURAL SYLE: Functionalism

FEATURES:

• Uses RCC frame with infill being an


insulating brick cavity wall which is then
rendered an painted white.
• Sun trapped balconies are cantilevered
from the tapering RCC frame.

• Exposed lift shaft on the


external wall.

• Free form cantilevered


canopy.
• Orientation: south of the balconies and the roof top sundeck was determined by the
dedication to the supposed “healing “ powers of the sun.
• West: doctors houses; North : staff flats.
• Plan was meant to be functionally zoned and biodynamical aligned to the compass so that
the direction of each wing was defined according to its requirements for sunshine and
view.

SITE PLAN GROUND FLOOR PLAN


A continuous sundeck that runs over the patient
wing is protected with RCC canopy to reduce solar
gain.

• Dining room was an enclosed mezzanine


suspended from steel hangers form above.

• It had a lot of natural light


due to double-height
windows, the sun blinds
outside prevented glare.

• Main staircase has natural light


which is further enhanced by the
yellow color of the stairs.
• Each patient had their own wall mounted • Door handles designed to prevent coat
cupboard and basin. sleeves from being caught in them.

• Designed lamps that were placed out


of the patients line of vision.
SITE PLAN
GROUND FLOOR PLAN
VILLA MAIREA (1924)
VILLA MAIREA(1924)
ARCHITECTURAL SYLE: Modernism

FEATURES:
EXTERIOR

• The courtyard of the villa was inspired by the


organization of vernacular farmstead.
• The massing was inspired by the falling
waters by Frank Lloyd Wright.
G C C C H
F I K

H K

D
L
B C
H
C
E

Ground floor plan First floor plan • A – Dining room


• B – Sauna
• C – Living room
• D- Library
• E - Studio
• F - Staff
• G - Kitchen
• H- Restroom
• I – children play
• The interiors •
area
J – Guest wing
follow the grid of • K – Children’s room
• L - Master
2850 x 2850 m bedroom
• Teak clad living room projects forward to
create shallow balconies that lead on to
the principle bedroom above.

• Bedroom windows project out


at an angle to address the line
of approach to the house
through the forest.
• The main entrance to the – the
door is approached under a two
level canopy supported by
compound timber column and
screened by miniature forest of
poles.
Main staircase inspired by Japanese
bamboo screens.

Sculpturally elaborate fireplace


forms a strong visual and
symbolic focus.

Rattan – wrapped columns


continue to evoke the Finnish
forest.
Screening by vertical poles help to
differentiate the interlinked spaces.

To enter this inner sanctum, columns are


made to resemble tree trunks are located at
certain points to create the impression
similar to that of emerging through the
fringes of a forest clearing.
COMPILED BY
MERLINA J
MARIA ANN KURIAN
PREETHA ARUL PAPPA
KEERTHANA R.S