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Journal articles on the topic 'Alvar Aalto'

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Published: 4 June 2021
Last updated: 10 March 2023

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1

MATTHEWS, HENRY. "ALVAR AALTO." Art Book 13, no. 4 (November 2006): 59–60. http://dx.doi.org/10.1111/j.1467-8357.2006.00746.x.

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2

Charitonidou, Marianna. "László Moholy-Nagy and Alvar Aalto’s Connections." Enquiry The ARCC Journal for Architectural Research 17, no. 1 (December 30, 2020): 28–46. http://dx.doi.org/10.17831/enq:arcc.v17i1.1080.

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Departing from the fact that László Moholy-Nagy’s Von Material zu Architektur (1929), had been an important source of inspiration for Alvar Aalto, this article examines the affinities between László Moholy-Nagy and Alvar Aalto’s intellectual positions. The article places emphasis on two particular ideas: how Aalto and Moholy-Nagy conceived the connection of biology with standardization and technology and its relationship to light and perception. Special attention is paid to the notions of “flexible standardisation” and rationalisation in Aalto’s thought, as well as to his belief that nature and standardization should be conceived are closely interconnected. In regard to their shared intellectual development, the article sheds light on the first encounters of the two men including: their meeting at the second Congrès International de l’Architecture Moderne (CIAM) in 1929; the June 1931 Finish meeting of Aino Marsio-Aalto, Alvar Aalto, Moholy-Nagy and Ellen Frank; the June 1931 exchanges between Aalto and Moholy-Nagy during the inner circle CIAM meeting in Berlin; and the common stay of the Aaltos and Moholy-Nagy in London in 1933 are discussed. Particular emphasis is placed on Aalto’s “The Reconstruction of Europe is the Key Problem for the Architecture of Our Time”, in which he argued that standardization in architecture should draw upon biological models.
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3

Niskanen, Aino. "Alvar Aalto and Cultural Memory." Joelho Revista de Cultura Arquitectonica, no. 13 (March 10, 2022): 45–66. http://dx.doi.org/10.14195/1647-8681_13_3.

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This article examines the meanings of the past which Aalto wanted to transpose into his architecture – what I term cultural memory. I search for their points of origin in Aalto’s education and travels, in particular his impressions of the Acropolis in Athens. For Aalto, a civic centre was “the face of a city”, which should be the citizens’ meeting place. Of particular importance to him was the ritual entry into a theatre. Of the many civic centres that Aalto designed, few were realised in their entirety. Three of them are examined, as well as the Helsinki University of Technology campus, which is interpreted as a city in miniature. Aalto fought against the idea of placing commercial functions in close proximity with his centres – but recent extensions and traffic arrangements have brought a new vibrancy to some of them. The way in which Aalto handled the idea of memory and his use of classical elements is studied. I argue that classicism seemed continuously attractive to Aalto.
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4

Hipeli, Mia. "Artek and Alvar Aalto." Designing Modern Life, no. 46 (2012): 36–41. http://dx.doi.org/10.52200/46.a.1vt1mfzf.

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Artek was founded in November 1935. The name of the company, Art + Technology, reflects its objectives and methods of operation. The intention was to offer to its wide range of customers, practical, economical, hygienic and above all Modern furniture that reflected its own time. The furniture was to represent the values of an urban and efficient lifestyle. In the company’s founding meeting on 26.11.1935, Maire Gullichsen and Alvar Aalto became the main shareholders. Other shareholders were: Nils–Gustaf Hahl, Artek’s first managing director; P.W. Puhakka, the managing director of Huonekalu- ja Rakennustyötehdas, the company that produced the furniture designed by Aalto; Aino Marsio–Aalto; architect Aili–Salli Ahde; professor Carl Hahl; and architect Arne Ervi.
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5

Treib, Marc. "Alvar Aalto at 100." Journal of the Society of Architectural Historians 57, no. 1 (March 1, 1998): 59–67. http://dx.doi.org/10.2307/991405.

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6

Miller, William C., and Goran Schildt. "Alvar Aalto: The Mature Years." Journal of Architectural Education (1984-) 47, no. 1 (September 1993): 53. http://dx.doi.org/10.2307/1425228.

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7

Miller, William C. "Alvar Aalto: The Mature Years." Journal of Architectural Education 47, no. 1 (September 1993): 53–54. http://dx.doi.org/10.1080/10464883.1993.10734574.

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8

Melgin, Elina. "Profeetaksi omalle maalleen." Ennen ja nyt: Historian tietosanomat 22, no. 3 (September 12, 2022): 26–42. http://dx.doi.org/10.37449/ennenjanyt.116245.

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Alvar Aallon menestys maailmanluokan arkkitehdiksi sisälsi paitsi ylivoimaista ja ainutlaatuista osaamista myös propagandaa, oman aikamme käsitteellä markkinointiviestintää ja lehdistösuhteita. Aalto oli vuorovaikutuksellinen, avoin ja helposti yhteistyö- ja ystävyyssuhteita solmiva persoona. Hän oli kansainvälisesti verkottunut oman alansa ihmisiin Pohjoismaissa ja Euroopassa heti uransa alussa. Artikkelissa kuvataan, mitä nuori Aalto halusi päivälehtien avulla kertoa ns. suurelle yleisölle kotimaassaan. Mistä sanomalehdet kirjoittivat ja milloin julkisuudesta tuli niin suurta, että Aaltoa saatettiin kuvata poikkeuksellisena mestarina. Artikkelin pääaineistona on käytetty Kansalliskirjaston digitoituja sanomalehtiä 1920-1930 -luvulta. Vaikka arkkitehti Aallosta on kirjoitettu läjäpäin teoksia, tämä artikkeli avaa ensimmäistä kertaa systemaattisesti Aallon aktiivista julkisuustyötä, niin sanottua työprosessia, johon pressisuhteet kuuluivat olennaisena osana.
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9

Kim, Hyon-Sob. "Alvar Aalto and Humanizing of Architecture." Journal of Asian Architecture and Building Engineering 8, no. 1 (May 2009): 9–16. http://dx.doi.org/10.3130/jaabe.8.9.

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10

Paajanen, Ilkka. "What to Do with Alvar Aalto?" Advanced Engineering Forum 12 (November 2014): 51–54. http://dx.doi.org/10.4028/www.scientific.net/aef.12.51.

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In Finland the influence of the Alvar Aalto has been very strong. It is not easy to say, what to do with Alvar Aalto and his buildings? Let’s take three cases: Library in Vyborg was built just before the Second World War. The former Finnish town was after the war one part of the Soviet Union. During the soviet era the building was in very bad condition. During the last 20 years it has been renovated. Now it looks like it was in the 30es. Some details remind the soviet renovations. Should we have a building like this in his earlier presentation or should we see also the history of the building? Sunila area in Kotka was built by one wood company in the middle of the 20th century. In the 60es the company sold the buildings. The flats are small, in the flats there are toilets but not showers. The situation especially in the 70es was miserable. In the last decades the Pro Sunila society has developed the area and the flats (for example two small flats together as a big one with bigger showers etc.). How we can develop an area? Nano laboratory building in Otaniemi was built in 60es as wood laboratory of the Helsinki University of Technology. There are many very fine architectural details in the building. For about eight years ago the building was renovated as nano laboratory. How to renovate a laboratory building, when you should in the same time use renovation, conservation and build high tech laboratory?
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11

Robbins, Eleanor. "Viipuri Library (1927-1935) Alvar Aalto." Art Book 2, no. 1 (January 1994): 22b. http://dx.doi.org/10.1111/j.1467-8357.1994.tb00363.x.

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12

Robbins, Eleanor. "Viipuri Library (1927-1935) Alvar Aalto." Art Book 2, no. 1 (January 1995): 22b. http://dx.doi.org/10.1111/j.1467-8357.1995.tb00363.x.

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13

Mijares, Carlos. "Alvar Aalto, maestro de la naturalidad." Bitácora arquitectura, no. 1 (June 22, 2011): 37–41. http://dx.doi.org/10.22201/fa.14058901p.1999.1.33852.

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14

Adrià, Miquel. "Alvar Aalto, el dominio del trazo." Bitácora arquitectura, no. 1 (June 22, 2011): 42–43. http://dx.doi.org/10.22201/fa.14058901p.1999.1.33853.

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15

Kravchenko, Serguéi. "Restauración de la biblioteca de Viipuri." Loggia, Arquitectura & Restauración, no. 4 (December 18, 1997): 32. http://dx.doi.org/10.4995/loggia.1997.5375.

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<p>La restauración de la biblioteca de Alvar Aalto en Viipuri, hoy en territorio ruso, se hará realidad gracias a un convenio de colaboración entre la Academia Rusa de Restauración de San Peterburgo y la Fundación Alvar Aalto. En este artículo, Serguéi Kravchenko, jefe del proyecto de restauración por la parte rusa entre 1988 y 1997, resume su estudio previo, reflexiones y propuestas de intervención en el edificio. Esta investigación rigurosa constituye el legado que ha dejado tras nueve años de dedicación exclusiva y devota a la biblioteca. Sin embargo, ha sido recientemente destituido de su puesto por extrañas y oscuras razones ajenas a la calidad de su trabajo. ¿Se ignorará toda su labor realizada hasta la fecha? Esperamos que la biblioteca no sea víctima de nuevo de avatares ajenos a la disciplina arquitectónica. Estas cuestiones cobran mayor actualidad en el año 1998, con motivo del centenario del nacimiento de Alvar Aalto.</p>
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16

Treib, Marc. "Review: Alvar Aalto: The Early Years by Göran Schildt, Stuart Wrede; Alvar Aalto ja Keski-Suomi (Alvar Aalto and Central Finland) by Satu Mattila, Päivi Lukkarinen, Martti Kapanen." Journal of the Society of Architectural Historians 46, no. 1 (March 1, 1987): 89–91. http://dx.doi.org/10.2307/990153.

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17

De Sá, Ana Luísa. "Álvaro Siza's First Encounter with Alvar Aalto." Joelho Revista de Cultura Arquitectonica, no. 13 (March 10, 2022): 99–116. http://dx.doi.org/10.14195/1647-8681_13_6.

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This paper delves into the use of references in architecture. By being particularly open about this often controversial subject, lvaro Siza proposes fascinating and important materials for reflection. This paper parses two takes on his use of references as particularly posited by theorists William Curtis in 1994 and Peter Testa a decade before him. It expands on the seminal relevance of Siza’s first encounter with Alvar Aalto. It argues the implications of the event, both immediate and yonder, highlighting, through Siza’s own words, clues to underlying processes in his (re)collection of references as an instrument of work. It readdresses Siza’s use of references in light of the complexities of the phenomena at play. This paper portrays a fragment of an ongoing research into Álvaro Siza’s modus pensandi and modus faciendi.
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18

Wilson, Colin St John. "Review: Alvar Aalto: Between Humanism and Materialism." Journal of the Society of Architectural Historians 57, no. 4 (December 1, 1998): 463–65. http://dx.doi.org/10.2307/991464.

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19

Radford, Antony, and Tarkko Oksala. "Alvar Aalto and the expression of discontinuity." Journal of Architecture 12, no. 3 (June 2007): 257–80. http://dx.doi.org/10.1080/13602360701469986.

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20

García Escudero, Daniel, and Berta Bardí i Milà. "Robert Venturi y el análisis de la arquitectura de Alvar Aalto." BAc Boletín Académico. Revista de investigación y arquitectura contemporánea 3 (July 8, 2015): 49. http://dx.doi.org/10.17979/bac.2013.3.0.996.

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En el año 2012 se han cumplido cincuenta años de la redacción del libro Complexity and Contradiction in Architecture, publicado en 1966, aunque redactado mayoritariamente en 1962. Este artículo aprovecha la efeméride para rescatarlo y focalizar ahora la mirada en la obra de Alvar Aalto, uno de los arquitectos que, en palabras del propio Venturi, más le influyó: “Aalto es para mí la fuente más rica para aprender por su arte y su técnica”. El análisis de Venturi representa una alternativa a la visión “clásica” que se construye sobre Aalto durante los cincuenta, y marca el camino de estudios posteriores.
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21

Jové Sandoval, José María, and Jairo Rodríguez Andrés. "Alvar Aalto: el vínculo con Jean Arp y la estructura interna de los objetos biomórficos." EGA Revista de Expresión Gráfica Arquitectónica 26, no. 42 (July 16, 2021): 142. http://dx.doi.org/10.4995/ega.2021.13919.

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<p>A principios de los años treinta se produce la confluencia de Alvar Aalto con Jean Arp, será un paso más en el proceso creativo del maestro finlandés. El estudio profundiza en este vínculo artístico y en la experimentación paralela, singular y nada casual, de Aalto con las formas libres. Una incursión en una breve secuencia de trabajos del arquitecto finlandés en aquellos años, fundamentada en un análisis de los croquis más significativos, da pie a reflexionar sobre la continua búsqueda aaltiana de la naturaleza propia de los nuevos objetos, y denota su empeño incesante por hallar una <em>estructura interna </em>coherente. Esta indagación se ve materializada en forma de arquitectura con la construcción del Pabellón de Lapua en 1938, a cuyo proyecto, tras esta investigación, los autores concluyen asignar un croquis que puede considerarse indebidamente adscrito a otro proyecto en la Fundación Alvar Aalto.</p>
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22

Isohauta, Teija. "The diversity of timber in Alvar Aalto's architecture: forests, shelter and safety." Architectural Research Quarterly 17, no. 3-4 (December 2013): 269–80. http://dx.doi.org/10.1017/s1359135514000086.

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In Alvar Aalto's architecture wood had an important role, symbolically and as a material. Aalto brought out the biological characteristics of wood and its relationship with human beings and with nature in his architecture. Aalto was a master at combining Finnish vernacular building with the European tradition and metamorphosing into some other material as he went along. Concrete, glass, wood and brick were all equally worthy materials.In Aalto's architecture, the role of wood is based above all on the ease with which it can be worked, its heat insulation properties and the fact that it is pleasant to the touch. Trees themselves as symbols of growth and sources of form of different kinds, and forests as spatial outlines, however, gave wood a mythical character. To Aalto, wood was adapted as an argument for human warmth and humanism when, to his mind, Modernism, the International Style, began to become too stereotyped and estranged from the idealism Aalto associated with it. With time, wood became for Aalto more and more a material that was used for cladding buildings and worked as a space divider, a material that was employed to soften acoustics and was used in details for places that people were going to touch.It could be said that, on the one hand, wood acted as decoration in Aalto's buildings, but on the other, the variations of form in the wooden detailing show a synthesis of Aalto's architecture.
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23

Fernández-Vivancos González, Enrique. ""La casa que crece" en el AA-System de Alvar Aalto." ZARCH, no. 11 (December 4, 2018): 110–21. http://dx.doi.org/10.26754/ojs_zarch/zarch.2018113210.

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En 1940, ya iniciada la Segunda Guerra Mundial, Alvar Aalto acordó con el M.I.T. la creación de un laboratorio de investigación sobre el problema de la reconstrucción, enfocado al desarrollo de sistemas de prefabricación de viviendas destinadas al realojo de la población desplazada. En dicho laboratorio Aalto se centró en el estudio de la "casa que crece", en referencia a un caso perteneciente a la ancestral cultura finesa que en ese delicado momento político le interesaba reivindicar: la arquitectura popular de Carelia. Pese a su brevedad, esta investigación que enlaza cultura técnica y tradición vernácula orientó gran parte de los estudios sobre prefabricación llevados a cabo en Finlandia durante los años cuarenta, y la podemos ver plasmada en la propuesta del AA-system que Aalto elaboró para la empresa A. Ahlsmtröm. El presente artículo analiza el desarrollo de esta experiencia, situándola en un periodo de reconstrucción posbélica en el que la transferencia de la tecnología norteamericana al contexto finlandés se integra con la aspiración de recuperar la dimensión humana perdida en los procesos de industrialización. Una reflexión que Aalto impulsó a través de iniciativas como el Laboratorio del Investigación para la Reconstrucción, el AA-system o la Oficina de Estandarización, y que finalmente se concretó en la formulación del concepto de "estandarización flexible".
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24

Manzano Jurado, Josemaría. "Lo abstracto, Aalto y el dibujo." EGA. Revista de expresión gráfica arquitectónica 21, no. 27 (May 9, 2016): 106. http://dx.doi.org/10.4995/ega.2016.4733.

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<p>Incursión en el imaginario abstracto de la obra de Alvar Aalto analizando el artículo publicado en 1947 en la revista Domus titulado Arquitectura y arte concreto. Desde la experiencia imaginativa de la Biblioteca de Viipuri y sus dibujos previos oníricos, y las metáforas naturalistas sobre el salmón y su periplo vital, Aalto se desnuda y muestra su procedimiento intuitivo sin renunciar a la ortodoxia racionalista.</p>
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25

Godoy-Vera, Giuliana. "Villa Mairea. El racionalismo nórdico de Alvar Aalto." Limaq, no. 001 (June 11, 2015): 137. http://dx.doi.org/10.26439/limaq2015.n001.359.

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26

Charrington, Harry. "Coordinating Method and Art: Alvar Aalto at Play." Architectural History 54 (2011): 309–45. http://dx.doi.org/10.1017/s0066622x00004081.

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Modern society is characterized by an exaggerated worship of theory, an attitude that reflects the human predicament and insecurity. We think that in it we can find salvation from the threat of chaos. But we must realise that pure theory without feeling cannot create anything. You cannot set up series of methods applicable to the most varied circumstances; only intuition can help here. Let me put it this way: theory and methodology should form a basis for an intuitive working method. The question is not which dominates the other, but how to co-ordinate them. Method is not the antithesis of art, not its enemy but its prerequisite. (Alvar Aalto, speech at Jvyäsklylä Kesäpäivät (Summer Days), 1965)
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27

Heikenheimo, Marianna. "La Biblioteca de Alvar Aalto en Viipuri, hoy." Loggia, Arquitectura & Restauración, no. 4 (December 18, 1997): 31. http://dx.doi.org/10.4995/loggia.1997.5374.

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28

Pelkonen, Eeva-Liisa. "In Search of Aalto. A Review of Alvar Aalto: The Mark of the Hand." Architectural Histories 1, no. 1 (March 26, 2013): 9. http://dx.doi.org/10.5334/ah.ah.

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29

Talín, Julio, and William C. Miller. "Un Análisis Temático de la Arquitectura de Alvar Aalto." POLIS, no. 6 (November 22, 2005): 28–37. http://dx.doi.org/10.14409/polis.v1i6.325.

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30

Dominiczak, Marek H. "Hospital Building That Merges Science and Art: Alvar Aalto†." Clinical Chemistry 58, no. 12 (December 1, 2012): 1738–39. http://dx.doi.org/10.1373/clinchem.2012.182055.

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31

Booth, T. William. "Review: Alvar Aalto Furniture by Juhani Pallasmaa, Elissa Aalto, Tapio Periainen, Aarno Ruusuvuori, Ake Tjeder." Journal of the Society of Architectural Historians 44, no. 4 (December 1, 1985): 397–98. http://dx.doi.org/10.2307/990121.

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32

Menin, Sarah. "A gateway to the ‘backwoods’: Aalto and the matter of rooting modernity." Architectural Research Quarterly 9, no. 2 (June 2005): 145–55. http://dx.doi.org/10.1017/s1359135505000187.

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33

Kairamo, Maija, and Tapani Mustonen. "The Restoration of Central City Alvar Aalto Library in Vyborg." For an Architect’s Training, no. 49 (2013): 73–77. http://dx.doi.org/10.52200/49.a.bytce7dn.

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The restoration of the Central City Alvar Aalto Library in Vyborg is completed and was officially inaugurated on 23rd November 2013. The restoration has been a long process which started in 1991. The work was carried out as a Russian–Finnish joint cross–border project within the context of two different socio–cultural societies, customs difficulties, economic fluctuations and currency rates, which could change the situation overnight. The project has been a learning process for all who have participated during the past years.
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34

MATTHEWS, HENRY. "ALVAR AALTO: ARCHITECTURE, MODERNITY, AND GEOPOLITICS BY EEVA-LISA PELKONEN." Art Book 17, no. 1 (February 2010): 60–61. http://dx.doi.org/10.1111/j.1467-8357.2010.01080_2.x.

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35

Bosia, Daniela, and Tanja Marzi. "Leonardo Mosso: the poetry of structure." Modern Houses, no. 64 (2021): 89. http://dx.doi.org/10.52200/64.a.3qdp8m1x.

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Leonardo Mosso (1926-2020) was able to combine art and architecture. He was a collector and an interpreter of 20th century culture that he shared and passed on to succeeding generations of students and collaborators who attended the Alvar Aalto Institute. For many, he was an unsung Maestro, a generous polymath, who maintained an extraordinary curiosity and child-like enthusiasm throughout his long life.
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36

Korvenmaa, Pekka. "Modernism in Finnish Furniture Design and Production." Designing Modern Life, no. 46 (2012): 32–35. http://dx.doi.org/10.52200/46.a.jxxtsxni.

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When looking at the development of Modernism in Finnish furniture design from abroad the conventional image is Alvar Aalto´s Paimio chair descending in 1931 into a desert of traditionalism and starting a new, bright era of Modernity. This cliché is partly, but only partly true. In the following I will outline some major trends in design, use of materials and techniques of production in Finnish furniture before World War II.
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37

Du, Jun. "Design Philosophy and Methods of Alvar Aalto from the Ecological Aesthetics." International Journal of Literature and Arts 7, no. 4 (2019): 87. http://dx.doi.org/10.11648/j.ijla.20190704.13.

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38

Norvasuo, Markku. "Alvar Aalto and the industrial origins of Finnish 1940s community planning." Planning Perspectives 31, no. 2 (October 2, 2015): 227–51. http://dx.doi.org/10.1080/02665433.2015.1065756.

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39

da Costa, António Ricardo, Victoriano Sainz, and Fernando Brandão Alves. "Alvar Aalto and Michelangelo: The emergence of synthesis in urban design." URBAN DESIGN International 18, no. 3 (December 5, 2012): 185–99. http://dx.doi.org/10.1057/udi.2012.33.

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40

Spens, Michael. "Lighting the Cavern: ‘Alvar Aalto: Through the Eyes of Shigeru Ban’." Architectural Design 77, no. 4 (2007): 122–23. http://dx.doi.org/10.1002/ad.499.

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41

Rincón-Borrego, Iván, and Ramón Rodríguez-Llera. "Nordic Memories of the East. Tetsuro Yoshida and the myth of traditional Japanese house in Erik Gunnar Asplund, Aino Aalto and Alvar Aalto." VLC arquitectura. Research Journal 9, no. 1 (April 29, 2022): 27–48. http://dx.doi.org/10.4995/vlc.2022.15603.

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Traditional Japanese architecture played an important role in the development of modern European architecture, especially from the beginning of the 20th century. Based on this extensively documented thesis, the influence of Japanese culture and the traditional Japanese house on the figures of Erik Gunnar Asplund, Aino Aalto and Alvar Aalto, especially during the 1930s, is analysed. The study describes how these authors found inspiration in the East, as well as their contacts and sources of reference. Finally, it explains the extent to which they reinterpreted Japanese aesthetics in their designs, especially analysing the case of the Villa Mairea winter garden. In this context, the research points to the decisive role played by the figure of Tetsuro Yoshida and his text Das japanische Wohnhaus (1935) for the interests and designs of these Nordic authors.
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42

Bruno, Marco. "Alvar Aalto: An Anthill Under the Undulating Sky. A Critical View of Finnish Networking." Open House International 43, no. 4 (December 1, 2018): 80–93. http://dx.doi.org/10.1108/ohi-04-2018-b0009.

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The many speculative writings found in Finnish architect Alvar Aalto's notes show an interesting array of information about the construction of a knowledge society, and the formation of networks, in which sharing and exchanging new knowledge among different bodies of architectural agencies become possible. These notes reveal insightful remarks, his personal accounts on the Internet and the growing Network Society that could be regarded as pioneering scholarly engagements, which still further stimulate new and profoundly articulated reflections in architectural theory. At the same time, these notes also encourage further scholarly studies on the possible relationships between time and space on philosophical grounds. With respect to his writings, one can summarize Aalto's contribution under three major headings: the future is nestled in the past; often what is sought is located in the unthinkable; and of many, Alvar Aalto will never cease to be new, unexpected and innovative in his design thinking methods and procedures.
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Dannatt, Trevor. "Alvar Aalto: Villa Mairea 1938–1939Juhani Pallasmaa (ed.) 168 pp., 157 mono and 198 colour illus. Alvar Aalto Foundation, Mairea Foundation, Helsinki, 1998 Price £ 39·35(pb)." Architectural Research Quarterly 3, no. 4 (December 1999): 377–79. http://dx.doi.org/10.1017/s135913550000227x.

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Jones, Peter Blundell. "From essence to appearance: Parallels between the working methods of Alvar Aalto and Hugo Häring." Architectural Research Quarterly 19, no. 4 (December 2015): 334–48. http://dx.doi.org/10.1017/s1359135516000063.

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The private house has perhaps always been a prototype for more elaborate architecture, but never more so than in the heyday of the Modern Movement, when it provided both the opportunity for experiment and the chance to explore creatively the changing essence of dwelling. This article, based on a keynote lecture given to the Alvar Aalto Foundation in February 2015, compares the generating principles of Alvar and Aino Aalto's own house of 1936 with those of built and unbuilt houses by Hugo Häring, underlining the importance of specific planning and spatial relationships as the essential generators, to which the making of façades remained subordinate or at least secondary. Häring's Woythaler House of 1927 also appears here for the first time in a properly comprehensible form, thanks to information recovered from drawings now available in the public realm.
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45

Pérez-Moreno, Lucía C. "Vestigios de Alvar Aalto en la opera prima de Antonio Fernández Alba (1959-62)." VLC arquitectura. Research Journal 5, no. 1 (April 19, 2018): 63. http://dx.doi.org/10.4995/vlc.2018.7720.

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<p><em>Antonio Fernández Alba’s work of the nineteen-sixties has been described fundamentally as ‘organic’, alluding to its consonances with the architecture of Alvar Aalto. This text examines the reading that Fernández Alba presented about the culture of Finnish architecture in several writings published in the Madrid journal </em>Arquitectura<em>, among which the essay “Human and Aesthetic values in Finnish Design” published in 1962 stands out. Reflections presented in this text were manifested in his design for the School of Nuestra Señora Santa María in Madrid, a project in which Fernández Alba was working at that time. Whilst remaining true to the requirements of a Catholic girl’s school, Fernández Alba’s project shows his interest in designing an architecture conducive to play, connected with the surrounding nature, not governed by preconceived forms, sympathetic in its choice of materials, and free in the use and enjoyment of its facilities. In short, an architectural design that considered the psychophysical needs of the female students and teachers, so that a ‘humanized architecture’ emerged, alluding to the well-known essay by Aalto written in 1940.</em></p>
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Ando, Mihoko. "Reprise and Continuity in Alvar Aalto′s Design Process for Three Churches." Journal of Asian Architecture and Building Engineering 17, no. 2 (May 2018): 237–44. http://dx.doi.org/10.3130/jaabe.17.237.

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Finne, Nils C. "The Workers' Club of 1924 by Alvar Aalto: The Importance of Beginnings." Perspecta 27 (1992): 52. http://dx.doi.org/10.2307/1567176.

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Trencher, Michael. "The individual and mass housing: the delicate balance." Architectural Research Quarterly 4, no. 3 (September 2000): 247–56. http://dx.doi.org/10.1017/s1359135500000270.

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One of Alvar Aalto's major preoccupations throughout his life's work was redefining the place of the individual in modern society in the face of industrialization, urbanization, and the political ideologies of extreme left and right. Unwilling to accept the Communist models of communal living and their rigid architectural suppression of individuality as well as Le Corbusian paradigms of platonic idealism, Aalto set out in MIT's Baker Dormitory to redefine the modern mass housing model with Le Corbusier's Swiss Pavilion as a point of departure.
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Vossoughian, Nader. "Alvar Aalto, Ernst Neufert, and Architectural Standardization in Germany and Finland, 1933–45." Journal of the Society of Architectural Historians 79, no. 2 (June 1, 2020): 202–12. http://dx.doi.org/10.1525/jsah.2020.79.2.202.

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Robinson, Sarah. "Designing Movement, Modulating Mood." Dimensions 1, no. 2 (May 1, 2021): 97–112. http://dx.doi.org/10.14361/dak-2021-0209.

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Abstract This article illustrates how the isomorphism between bodily form and emotional expression is manifest in architectural experience through applying research findings in the fields of cognitive science, phenomenology, and psychology to practical examples in the work of Aldo van Eyck, Alvar Aalto, Rosan Bosch, Herman Hertzberger, Steen Eiler-Rasmussen, and Gaston Bachelard. Beginning with the micro-scale movement in facial expressions to larger scale patterns of collective movement and mood, this work understands architecture in its activeverbal form, as a patterning force capable of modulating rhythms and resonances at individual and societal scales of interaction.
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