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Flavia Fascia
ABSTRACT: A careful reading of the wide and qualified architectonic production of Alvar Aalto allows us to single out bio-climatic
solutions in several works of the Finnish Master.
Alvar Aalto, whose architectonic production gave a considerable contribution to the development of the rational and organic
architecture, has always kept in mind human demands. In this sense, it is useful to remember the S.Giedon’s way of thinking: “We
can’t speak about Aalto as an architect without speaking about Aalto as a man: men have as much importance as architecture. Aalto’s
interest is to everybody, to each desire and experience, without exclusion of origins or social classes ... He approached beings directly
and without inhibitions; in the same way he approached wood as an organic material”.
This paper aims to mark the bio-climatic aspects of some significant works: the Sanatory of Paimio, the Library of Viipuri and the
Building whole of Kauttua.
1. INTRODUCTION
In the works of the Modern Movement architects, above all in Alvar Aalto’s ones, even if the Authors doesn’t face directly the
questions about bio-architecture, there is a particular care in the use of natural materials, in the insertion of the building in the natural
environment, in the best sunshine conditions and natural lighting . All these elements support the quality of life and are the rudiments
of the bio-architecture.
The bases of Aalto’s planning are “nature and biology”; they are also the title of the introduction by Marcello Fagiolo to the essay
“Idee di architettura - scritti scelti 1921-1968” published by Zanichelli and dedicated to him.
Marcello Fagiolo declares that “the Aalto’s naturalism is a pattern of biological formation and growing”. This reference to the nature
can be easly found in the standardized planning too.
According to him, in fact, standardization must be natural; in other words it has to be considered as a “system based on infinitesimal
elements, that allows a continuous variability of shapes which grow organically”. Standardization in architecture must scour the same
course of the biological pattern which affects the “life of shapes”. Architecture needs scientific researches in order to understand new
demands and to take society into an efficient system, where everybody can live in suitable biological conditions and where sun, air
and light represent their essence.
According to Aalto, architecture must involve all the aspects of human life; so the designer’s task is to put technology into men’s
service. Architecture, in particular, must always serve life and so must defence men, giving humanity to the our life of machines”.
Planning means to hold in due consideration materials and building methods. During the International Congress of North Land
Builders at Oslo, in 1938, Alvar Aalto said:
“In ancient times – Micene – or in more remote ages, when the possibilities of using materials didn’t exist or were very
few, nature – the sole supplier of raw materials – fixed a limit to the building possibility. The architecture of those
ancient times could be called ‘the architecture of the inventiveness’: in fact, being lacking every possibility to fit
materials, they had to be used life-size. Above all block of stones, trunks of tree and skins of animals were used.
Architecture was the right combination of such materials. This primitive art awakes among us queer feelings of
admiration because in this period there were the first modest victories of the human mind against the raw and
untouched nature. On this subject we can speak about the direct influence of materials and methods on architecture –
nay – of the quite condition of dependence. Owing to the improvement of building science, the conditions of cause and
effect aren’t so clearly differentiated any more. First of all materials coming directly from nature are replaced by
building materials; they don’t belong to the original untreated materials any more, but they are liable to a constant
manufacture that rose and rises again in the architectonic process”.
From the Finnish Master’s words we can deduce that architecture mustn’t be a hole of buildings but a continuous evolving process,
more and more complex, always addressed to new solutions, new shapes and new materials.
“Architecture is and remains a wonderful process of sinthesis in which thousands of human compenents are involved:
it is always architecture. Further, its mission is to harmonize world with life”.
The reading of the architectonic production of Alvar Aalto, always marked by formal, functional and technological values, shows the
interest which the Finnish Master had in problems of bio-architecture. In fact, in his works it’s often possible to read some rudiments
of the bio-architecture:
• the use of natural materials;
• the armonization of the building with the environment;
• the study of the work, into details too, according to natural, psicological and spiritual human demans.
Figure 5 The Cultural Centre of Wolfsburg Figure 6 The House of Culture in Helsinki
Brick, altough artificial material, assumes an organic essence with Aalto: the variability of the bending radious - together with the
design of the wall - gives life to the brick, which puts on various colours by varying the angle of incidence of the sunbeams.
When he was very young - 20 years old - he won the concourse for planning this particular hospital that had to be built in South-west
Finland. All the design solutions - the plant organization of the various parts of the building, the study of details of the rooms - mark
the great care used by our Author for the physical and psychological requirements of the unhappy and tuberculoutic man. In this
work Aalto realizes the idea of a human razionalism.
Owing to the importance of sun for these sick men, Alvar Aalto conceives a true sun-trap: rooms are oriented so as to catch sunbeams
during the morning, when sick men are in bed; collective spaces, such as dining and living rooms, are oriented to catch sunbeams during
the afternoon; the solarium is quite open and formed by a superimposition of sunny floors. Light, air and sun are the essential
elements in this building.
All the whole is planned so as to perfectly adapt itself to the natural slope and to the surrounding environment and is studied in the
smallest details.
In this sense the reading of a hospital room is very important.
The fixture is designed so as to assure a frequent replacement of air, without create troubles to patients. They are - indeed - two
fixtures divided by an air space - directly connected with the outside - that prevents the passage of air; when the entrance door is
opened, there is a depression that draws fresh air from outside. Both the fixture and the door are located so as to avoid currents of air
that might directly hit the sick men.
The ceiling is darkly painted in order to tire not the patients’ sight during their stay in bed; an exception is the area over the head of
the bed, white painted, that must diffuse the artificial light produced by a screened lamp.
The wall bording with the passage is equipped and tich so as to optimize the sound-proofing. The wash-basin has a special outline in
order to attenuate the noise of water falling on porcelain.
All the examined characteristics, togheter with insulations, aired walls - which optimize the conditions of thermo-hygrometric comfort
in many architectonic spaces planned by our Author - skylights studied so as to optimize the natural lighting in the rooms and the
great glass surfaces -which connect several works of the Finnish Master to the natural environment - make Alvar Aalto the forerunner
of the bio-architecture that just now we discover again.
Figures
Alvar Aalto, Les Editions d’Architecture Artemis Zurich