Alvar Aalto: A Critical Study by Malcolm Quantrill

By Malcolm Quantrill

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Alvar Aalto was once remarkably artistic in structure and commercial layout. in addition, his command of expertise was once built-in with a humanistic kind of construction, and prefer Saarinen and Frank Lloyd Wright he sought an natural synthesis of his buildings with their atmosphere. Aalto's luck in imminent those beliefs may possibly account for the extreme unfold of his impact on a global scale.

In this huge research of Aalto's paintings, Malcolm Quantrill assesses its improvement when it comes to strong sources-the Finnish nationwide Romantic circulation and the trendy move in structure. His critique of Aalto's most vital structures and furnishings designs is complemented by way of images of many levels in their production, from the spontaneity of preliminary sketches to the finished element. Professor Quantrill first met Alvar and Elissa Aalto at Muuratsalo in June 1953, and he has been learning and photographing Aalto's constructions ever due to the fact. His publication offers notable insights into the paintings of 1 of the best architects of the century.

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Extra resources for Alvar Aalto: A Critical Study

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12 Such an approach, for Aalto, would be systematic only in the comprehensive way that Nature is systematic, the reason for 32 this being that the system must offer freedom rather than rigidity, because, in Aalto’s own words: After all, nature is a symbol of freedom. Sometimes nature actually gives rise to and maintains the idea of freedom. 13 Thus Aalto, writing in 1949, on the theme of ‘National Planning and the Goals of Culture’. The importance of nature as our guide and teacher, our natural resource for inspiration, remained one of his recurring themes.

10. At the beginning of their partnership, and in their early work, Gesellius, Lindgren and Saarinen looked not to their compatriot Sonck for inspiration but rather sought it in the models of the German Jugendstil. Their residential building at 42 No. 7 Satamakatu in Helsinki (1897) certainly reveals this influence, as does their Finnish Pavilion for the Paris World Fair of the following year. The Finnish Pavilion, however, was an amalgam of Jugendstil elements with clearly recognisable derivatives from the tradition of Finnish mediaeval stone church architecture, while the overall approach to ornamentation suggested a move towards a distinctly new Finnish flavour on the part of these three architects.

Nyström. He had shown his predilection for the Italian Renaissance style, with his Föreningsbanken (Cooperative Bank) in Helsinki (1899) having a strong Palladian influence, while his Finnish Bank in Turku (1901) follows the design of Florentine palazzi. But in his Församlingarnas (Congregational Centre) Walter Jung adopted a complete mixture of styles, with a National Romantic doorway fitting into a Florentine palazzo ground floor, while the cornice is also Florentine but the windows between are a hybrid of Italian and English Renaissance; the interior is, however, Greek, with Doric columns in the entrance hall.

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