1. P R E S E N T E D B Y :
V A R S H A M A L L Y A , 2 9
D A M I N I B H A R D W A J , 3 0
WORKS OF ALVAR AALTO
2. 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
http://www.greatbuildings.com/buildings/Workers_Club.html
3. B.
C.
A.
A.
B.
C.
GROUND FLOOR PLAN
FIRST FLOOR PLANhttp://www.greatbuildings.com/buildings/Workers_Club.html
http://alvaraaltosarchitecture.blogspot.in/2011/12/jyvaskylas-worker-club-2.html
4. SECOND FLOOR PLAN
D.
D.
SECTION AA’
http://www.greatbuildings.com/buildings/Workers_Club.html
http://alvaraaltosarchitecture.blogspot.in/2011/12/jyvaskylas-worker-club-2.html
5. • 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
http://www.greatbuildings.com/buildings/Workers_Club.html
6. 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.
http://jbdowse.com/eur/pix/paimio-2/7739.jpg
http://upload.wikimedia.org/wikipedia/commons/2/20/Paimio_Sanatorium_entrance.jpg
http://jbdowse.com/eur/pix/paimio-2/7737.jpg
• Sun trapped balconies are cantilevered
from the tapering RCC frame.
• Free form cantilevered
canopy.
• Exposed lift shaft on the
external wall.
7. • 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.
http://space72.blogspot.in/2012/08/paimio-sanatorium.html
SITE PLAN GROUND FLOOR PLAN
8. • It had a lot of natural light
due to double-height
windows, the sun blinds
outside prevented glare.
• Dining room was an enclosed mezzanine
suspended from steel hangers form above.
A continuous sundeck that runs over the
patient wing is protected with RCC canopy to
reduce solar gain.
• Main staircase has natural
light which is further
enhanced by the yellow color
of the stairs.
http://www.checkonsite.com/wp-content/gallery/paimio-sanatorium/paimio-balcony.gif
http://image.architonic.com/imgTre/01_11/Paimio2-bearbeitet.jpg
http://elenakyla.files.wordpress.com/2012/04/011-paimio-sanatorium4.jpg
http://larryspeck.com/wp-content/uploads/2010/10/83-3672.jpg
9. • Door handles designed to prevent coat
sleeves from being caught in them.
http://image.architonic.com/imgTre/01_11/Paimio3-bearbeitet.jpg
http://upload.wikimedia.org/wikipedia/en/thumb/6/6a/Alvar_Aalto%2C_Paimio_Sanatorium%2C_Bedroom_lamp.jpg/800px-
Alvar_Aalto%2C_Paimio_Sanatorium%2C_Bedroom_lamp.jpg
https://s-media-cache-ec0.pinimg.com/736x/56/85/7a/56857a025c369e7104956981fcbfa21b.jpg
http://image.architonic.com/imgTre/01_11/Paimio2-bearbeitet.jpg
• Each patient had their own wall
mounted cupboard and basin.
• Designed lamps that were placed
out of the patients line of vision.
10. 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.
http://ad009cdnb.archdaily.net/wp-content/uploads/2010/10/1288246719-2.gif
http://www.meganreilly.com.au/wp-content/uploads/2012/07/SketchBook_Falling-Waters-Elevation.jpg
http://1.bp.blogspot.com/-z72GMmO_WzE/T2P6t6tXbnI/AAAAAAAAAlY/viUBOS6LmlM/s1600/plans.jpg
12. • 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.
http://ad009cdnb.archdaily.net/wp-content/uploads/2010/10/1288246719-2.gif
http://www.meganreilly.com.au/wp-content/uploads/2012/07/SketchBook_Falling-Waters-Elevation.jpg
http://1.bp.blogspot.com/-z72GMmO_WzE/T2P6t6tXbnI/AAAAAAAAAlY/viUBOS6LmlM/s1600/plans.jpg
13. 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.
http://ad009cdnb.archdaily.net/wp-content/uploads/2010/10/1288246719-2.gif
http://www.meganreilly.com.au/wp-content/uploads/2012/07/SketchBook_Falling-Waters-Elevation.jpg
http://1.bp.blogspot.com/-z72GMmO_WzE/T2P6t6tXbnI/AAAAAAAAAlY/viUBOS6LmlM/s1600/plans.jpg
14. Screening by vertical poles help to
differentiate the interlinked spaces.
http://ad009cdnb.archdaily.net/wp-content/uploads/2010/10/1288244433-villamairea02.jpg
http://ad009cdnb.archdaily.net/wp-content/uploads/2010/10/1288246150-untitled-2-446x500.jpg
http://www.archdaily.com/wp-content/uploads/2010/10/1288246509-untitled-4.jpg
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.
15. REFERENCES
1) Richard Weston, Alvar Aalto, 1995, Phaidon Press Limited
2)Alvar Aalto, 1978, Architectural Monographs & Academy Editions
Notas del editor
Entering the building through the big and heavy iron doors the visitor first enter a lobby with a cloak room. Two staircases lead upstairs where a concert hall can be found that easily accomodates up to 400 people. The interiour shows a lot of Aalto typical elements but has also a slide oriental touch
free form canopy aalto’s lung
the buildings were grouped in a Neo-Classical manner with sun balconies representing a more modern architectural approach. Lying in the sun on a balcony was part of the treatment for tuberculosis so that balconies like these were an essential part of sanatorium architecture.
The lamps were placed close to the wall above the bed so as to not shine directly into the patients eyes.The chair's framework consists of two closed loops of laminated wood, forming arms, legs, and floor runners, between which rides the seat—a thin sheet of plywood tightly bent at both top and bottom into sinuous scrolls, giving it greater resiliency. Inspired by Marcel Breuer's tubular-steel Wassily Chair of 1927—28, Aalto chose, instead, native birch for its natural feel and insulating properties, and developed a more organic form.. Used in the patients' lounge, the angle of the back of this armchair was intended to help sitters breathe more easily.For instance, particular attention was paid to the design of the patient bedrooms: these generally held two patients, each with his or her own cupboard and washbasin. Aalto designed special non-splash basins, so that the patient would not disturb the other while washing. The patients spent many hours lying down, and thus Aalto placed the lamps in the room out of the patients line of vision and painted the ceiling a relaxing dark green so as to avoid glare. Each patient had their own specially designed cupboard, fixed to the wall and off the floor so as to aid in cleaning beneath it.
To enter this inner sanctum, formal devices such as columns and railings 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.
To enter this inner sanctum, formal devices such as columns and railings 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.