Abstract
The purpose of this paper is to review Aalto's design conception on the basis of his critique of technology- oriented rationalism. Arguably, his critical attitude was best illustrated in his article 'The Humanizing of Architecture' (1940), which anticipates Adorno and Horkheimer's criticism against instrumentalized rationality (1944). For Aalto, true rationalism should be synthetic in order to cover all fields of human activities. However, man is not only a rational being but also a player. Aalto's argument for the relevance of play in architecture corresponds to Johan Huizingha's theory of Homo Ludens or 'Man the Player'. Play elements in Aalto's design complements the unbalanced formula between form and function in architecture by covering humanitarian and psychological aspects. These elements are often proved to be astonishingly rational as he maintained, and symbolically functional in many cases. Nonetheless, all the discourses concerning Aalto's architecture eventually converge on original matters concerning architecture, man and nature – architecture mediates man and nature. This relationship is reflected in Aalto's design, directly and indirectly as well as practically and metaphorically, which is more fundamental than any other superlative theories. Therefore, this paper maintains that his architecture has a timeless value and that he demonstrated an example of humanizing architecture. Keywords: Alvar Aalto; modern architecture; rationalism; play; humanizing of architecture 1. Introduction The one is its implication of postmodern 'complexity Alvar Aalto's influence on his contemporaries and on and contradiction' in Venturi's term (1966). It could the next generation of architects has been remarkable. also be seen as that of 'heterotopia', if borrowing from As Kenneth Frampton (1998) expounded, his legacy Demetri Porphyrios (1980) (who originally quoted the was inherited in diversified ways: first by Finnish term from Foucault), which discards the homotopic architects such as Aarne Ervi of the 'constructivist integrity of the modern ideal, and instead pursues "an line' as well as Reima Pietilä of the 'organic' one; and unstable unity" of heterogeneous elements (pp.2-4). then by foreign architects worldwide from Jørn Utzon The other is the increasing contemporary interest in to Alvaro Siza, both directly and indirectly. Charles the phenomenological sense of place, nature and man Jencks (1977) perceived a 'Post-Modern space' in that Aalto's design retains. The association of Aalto Aalto's work and Robert Venturi (1977) confesses with the Finnish context is fundamental in relation his debt to the Finnish master. However, although to this standpoint. Nevertheless, in both cases, his critics like Manfredo Tafuri and Francesco Dal Co w o r k p r o v i d e s u s w i t h s o m e t h i n g t h a t c a n n o t b e (1980) appeared to be rather suspicious of Aalto's vital grasped by the notion of orthodox modernism. In contribution to contemporary architecture, from the other words, we can say that Alvar Aalto served as a present point of view, he is undoubtedly one of the critic of rationalism in architecture, which had become most significant modern architects and his influential increasingly more instrumentalized – especially since power seems to be continually growing. the proclamation of the International Style in 1932. The validity of Alvar Aalto's design in current European rationalist tradition was now vulnerable in architecture could be generally explained in two ways. the hands of Aalto. The crisis of rationalist modernism had already been detected in events such as the Weissenhofsiedlung *Contact Author: Hyon-Sob Kim, Assistant Professor, Exhibition in 1927 and the foundation of the CIAM in Department of Architecture, Korea University, 1928. Moreover, Sigfried Giedion's insertion of the Anam-dong, Seongbuk-gu, Seoul 136-701, Korea nd Alvar Aalto chapter in the 2 edition of Space, Time Tel: +82-2-3290-3343 and Architecture (1949) ironically signifies the limits E-mail: archistory@korea.ac.kr of rationalism. Despite the controversial dichotomy ( Received October 7, 2008 ; accepted January 5, 2009 ) Journal of Asian Architecture and Building Engineering/May 2009/16 9 in the historiography, his complimentary description 1 9 2 5 ) , h e w a s b e i n g of Aalto's ability to "dare the leap from the rational- extremely 'rational' rather than functional to the irrational-organic" illustrates a new 'reasonable'. Walter Gropius's possibility in modern architecture. mathematical calculation in The purpose of this research is to reconsider Aalto's the Zeilenbau diagram proved design conception starting from the examination not to guarantee psychological of his attitude towards rationalism. However, as is satisfaction, even though the well-known, he did not declare any manifestoes nor p h y s i c a l " c o n d i t i o n s a s t o formulate a principle for his architecture. It is reported air, sun, view and distance that whenever asked about his architectural theory, f r o m n e i g h b o u r b l o c k s a r e 4 7 Aalto responded: "I answer with my buildings." improved." Form followed I n r e a l i t y, h o w e v e r, h e w a s g i v e n a n u m b e r o f e f f i c i e n c y r a t h e r t h a n opportunities to state his architectural idea even though function. this was generally not in the logical form of a 'theory'. Fig.1. Plan Voisin, F r o m B e h n e ' s a p p r o a c h , Le Corbusier, 1925. Arguably, the best statement that shows his critical t h e r e p r e s e n t a t i v e m o d e r n stance towards rationalism is in an article entitled 'The humanizing of architecture', which was published in rationalist is The Technology Review in 1940. As the titles of the Mies van der article and the journal already indicate, Aalto rejected R o h e , i f t h e a technical rationalization for a humanistic approach functionalist to architecture. The article is the stepping-stone to this e x a m p l e i s research. Therefore, this paper will first investigate Hugo Häring. Aalto's critique of rationalism revealed in the article, T h e t w o and will then consider what could be the alternative a r c h i t e c t s breakthrough that his architecture implies. h a d o n c e s h a r e d a n 2. Aalto's Critique of Rationalism o f f i c e – a n d "T h e ter m 'r a tio n a lis m ' a p p ea r s in co n n ectio n p o s s i b l y a n with Modern architecture about as often as does architectural Fig.2. Gropius's Diagram for Parallel ' f u n c t i o n a l i s m ' . M o d e r n a rc h i t e c t u re h a s b e e n c o n c e p t t o o Apartment Blocks in a Rectangular Site, rationalized mainly from the technical point of – b u t l a t e r 1930s. view. […] It is not the rationalization itself which w e n t t h e i r w a s w ro n g i n t h e f i r s t a n d n o w p a s t p e r i o d o f separate ways for universality and for specificity, Modern architecture. The fault lies in the fact that respectively. However, the labels of 'rationalism' and the rationalization has not gone deep enough. The 'functionalism', in relation to modern architecture, present phase of modern architecture is doubtless a h a v e q u i t e o f t e n b e e n u s e d w i t h o u t d i s t i n c t i o n . new one, with the special aim of solving problems I t s e e m s t h a t A a l t o w a s n o t a n e x c e p t i o n , e i t h e r. in the humanitarian and psychological fields. […] Though Aalto's designs illustrate, in retrospect, a Technical functionalism is correct only if enlarged to difference between functionalism and rationalism – his cover even the psychophysical field. That is the only Heraclitean interpretation of function was not reduced way to humanize architecture." (Alvar Aalto, 'The to a rational order, he did not actually seriously Humanizing of Architecture', 1940) distinguish between the -isms, at least, in the above Rationalism was one of the most important aspects article. Whatever the term might be, the important of modern architecture. According to the German point for Aalto was that "Modern architecture has been modernist critic Adolf Behne (1923), the rationalists rationalized from the technical point of view." To him, pursue "what is most fitting for general need, the rationalization or rationalism itself was not a matter, in norm," in contrast with the functionalists who favor fact. The problem was that it was not mature enough. unique solutions for specific requirements. Owing Rather than resorting to any rationalist strands such to the search for a universal solution, it is true that as Classical Rationalism and Gothic Rationalism in modern rationalism produced its own aesthetics as well early modern architecture, Aalto directly arrived at as various positive effects in the building economy. the point concerning the raison d'etre of rationalism. However, its emphasis on standardization and mass Fundamentally, it should be "human happiness" – production often resulted in a fallacy of scientific quoting from Zevi (1950) who used this condition determinism and the obsession with efficiency in for his definition of "organic architecture" (p.76) – if planning, design and construction inevitably brought rationalism is truly based on 'reason'. Aalto argued that about a dry and uniform built environment. When "rational methods" must be enlarged to encompass Le Corbusier suggested sweeping away "the pack- humanitarian and psychological fields. donkey's way" to build a new utopian city (Urbanisme, 10 JAABE vol.8 no.1 May 2009 Hyon-Sob Kim A a l t o ' s e x p r e s s i o n o f t h e i m m a t u r e m o d e r n T h e s i t u a t i o n o f condition reminds us of Jürgen Habermas's argument the patient, as "a that modernity is "an incomplete project". In his horizontal human acceptance speech of the Theodor Adorno Prize in being" who lies on 1980, Habermas maintains that "instead of giving a bed most of his/ u p m o d e r n i t y a n d i t s p r o j e c t a s a l o s t c a u s e , w e h e r t i m e " i n t h e should learn from the mistakes." This statement weakest possible 1 3 was exactly along the lines of Adorno, whose idea c o n d i t i o n " , was anticipated by Aalto's critique of rationalism. In s h o u l d b e Fig.5. Paimio Sanatorium, Dialektik der Aufklärung (1944), Adorno and Max c o n s i d e r e d Patient Room. Horkheimer accused the Enlightenment of resulting carefully, even in in "a new kind of barbarism" and rationalism of its t e r m s o f c o l o r, "tendency to self-destruction". However, their critique lighting, heating, was not purely pessimistic but "intended to prepare noise, etc. Aalto t h e w a y f o r a p o s i t i v e n o t i o n o f e n l i g h t e n m e n t . " p r o p o s e d a n d They argue that "the Enlightenment must examine executed concrete itself," as Aalto examined the first period of modern d e v i c e s f o r t h e architecture. As Hilde Heynen (1999) pointed out, room as follows: Adorno and Horkheimer made "an implicit distinction " T h e c e i l i n g between critical rationality – reason, that is, in its most should be darker, Fig.6. Paimio Sanatorium, Sketches for authentic and unqualified guise – and instrumental with an especially Overhead Heating in a Patient Room. rationality, which is thinking reduced to purposes of s e l e c t e d c o l o r utility or to mere calculation" (p.180). Therefore, we suitable to be the only view of the reclining patient can consider that the two philosophers argued for a for weeks and weeks. The artificial light cannot come recovery of "critical rationality" as the basic motive of from an ordinary ceiling fixture, but the principal the Enlightenment and rationalism. Aalto's claim for center of light should be beyond the angle of vision of a deeper rationalization is after all the revitalization the patient. For the heating system in the experimental of the lost critical rationality in modern architecture. room, ceiling radiators were used but in a way which Despite the unwanted effect, we cannot abandon the threw the heat mainly at the foot of the bed so that the original liberating intention of the Enlightenment head of the patient was outside the direct rays. The project. He suggests that it is possible only when location of the windows and doors likewise took into architecture, as a "synthetic phenomenon", covers all account the patient's position. To avoid noise, one wall fields of human activity: a psychological field as well in the room was sound absorbing, and wash basins (each as a technical one. patient in the two-patient rooms had his own) were Yet, at a practical level, especially designed so that the flow of water from the h o w c a n a r c h i t e c t u r e faucet hit the porcelain basin always at a very small satisfy a psychological angle and worked noiselessly." While rationalists need? Aalto illustrated his would consider this detailed plan for one single room idea in the above article to be excessive, it was crucial to Aalto, who wanted to w i t h t h e e x a m p l e s o f think truly reasonably. He ensured that the technical the Paimio Tuberculosis s t r a t e g i e s w o u l d s e n s i t i v e l y s e r v e t h e p a t i e n t s ' S a n a t o r i u m ( 1 9 2 8 - 3 2 ) emotional requirements. In a similar way, lighting Fig.3. Paimio Sanatorium, and the Viipuri Municipal was the main concern in the Viipuri Library owing to Site Plan, 1928-32. L i b r a r y ( 1 9 2 7 - 3 5 ) . I n the activity of reading. t e r m s o f t h e f o r m e r , I n o r d e r t o r e d u c e t h e Aalto's first monumental fatiguing phenomena to a c h i e v e m e n t i n h i s the human eye, indirect c a r e e r , t h e o b l i q u e l y d a y l i g h t w a s p r e f e r r e d a l i g n e d w h i t e h o s p i t a l and Aalto devised round w i n g s a n d t h e r o o f t o p s k y l i g h t s . T h e s y s t e m , sundeck are probably the h e a r g u e d , i s n o t o n l y most impressive images. " t e c h n i c a l l y r a t i o n a l Fig.4. Paimio Sanatorium, With regard to the theme because of the monopiece Rooftop Sundeck. in the article, however, he glass system employed" focuses on the relationship between one single patient b u t a l s o " h u m a n l y and his/her room, that is, the patient's behavioral and r a t i o n a l b e c a u s e i t Fig.7. Viipuri Library, Sketch psychological aspects within the existential space. provides a kind of light for Skylights, 1927-35. JAABE vol.8 no.1 May 2009 Hyon-Sob Kim 11 s u i t a b l e f o r r e a d i n g , four rules in his Discourse on Method, he recognized blended and softened 'intuitively' indubitable truths such as the fact that 'he by being reflected from thinks.' While he argued for his different usage of the t h e c o n i c a l s u r f a c e s term "intuition" from its general conception related to 1 5 o f t h e s k y l i g h t s . " the senses or the imagination, this new usage does F r o m A a l t o ' s p o i n t overlap the conventional one to a considerable degree. o f v i e w, t h e s e r i o u s And it is not always true that the undoubted proposition c o n s i d e r a t i o n f o r t h e is purely the result of his "intellectual intuition". seemingly meticulous T h e p r o b a b l e g a p c o u l d b e b r i d g e d b y a l e a p o f Fig.8. Viipuri Library, Reading h u m a n b e h a v i o r i s intuition – in the general conception. Actually, it seems Room with Skylights. critically and humanly that Aalto's intuition does not show a considerable rational. d i s c r e p a n c y w i t h t h e C a r t e s i a n " u n c l o u d e d a n d a t t e n t i v e m i n d " . I n h i s d e s i g n , i t c a n a n d s h o u l d 3. Aalto the Homo Ludens complement as an indispensable element the reasoning "In the midst of our laboring, calculating, utilitarian process of analysis, synthesis and deduction, which age, we must continue to believe in the crucial are the remaining three rules in Descartes' method. significance of play when building a society for Architectural design involves not only a rational human beings, those grown-up children. […] Thus program but also an intuitive decision and Kunstwollen. we must combine serious laboratory work with Aalto admitted this without reserve. Just as "myth is the mentality of play, or vice versa. Only when the already enlightenment; and enlightenment reverts to constructive parts of a building, the forms derived mythology" (Adorno and Horkheimer), so rationality from them logically, and our empirical knowledge is is basically rooted in intuition, and intuition is often colored with what we might seriously call the art of rational. play; only then are we on the right path. Technology We now need to review the nature of the human and economics must always be combined with a being. As Johan Huizingha (1872-1945) pointed out in th life-enhancing charm." (Alvar Aalto, 'Experimental Homo Ludens (1938), we cannot wholly rely on the 18 House at Muuratsalo', 1953) century's optimistic concept of Homo Sapiens or 'Man O n e n o t a b l e p o i n t i n ' T h e H u m a n i z i n g o f the Thinker'. Instead, he emphasizes the significance Architecture' is that Aalto recognized the transition of play as a "cultural phenomenon" in all activities of o f m o d e r n a r c h i t e c t u r e – " t h e f i r s t a n d n o w p a s t human civilization and refers to our species as Homo period" and "the present phase". In fact, around the Ludens or 'Man the Player'. According to him, "we mid 1930s, he himself showed a modification in his must be more than merely rational beings" since "we architectural tendencies from the trend influenced play and know that we play." He maintains that this b y r a t i o n a l i s t m o d e r n i s m t o a m o r e r o m a n t i c concept of play is also an important element in the area approach. His biographer Göran Schildt (1986) also of plastic arts, including architecture, and suggests confirms this: "He half consciously moved farther that it could be located in the category of aesthetics. and farther away from Rationalism, driven by his Aalto shared this idea through his friend Yrjö Hirn artistic daemon and by his feeling for the human and (1870-1952), an influential Finnish litterateur, who, natural" (p.18). Nevertheless, Aalto's designs even in his book Barnlek (Child's Play; 1916), investigated in the rationalist period were significantly different the area of child's play and concluded that play is an from other continental modernists' work. Though innate human quality. In the text 'Experimental House the two examples in Paimio and Viipuri belong to at Muuratsalo', Aalto argues for the necessity for play the rationalist period, they are "humanly rational" in every architect's work. Nonetheless, he perceived as shown above. This is why he could use them as a that "a one-sided concentration on play" is only a model for the new phase architecture. "jest". His thesis was that the rational and logical The uniqueness of Aalto's design derives to a large approach to design should be accompanied by "the art extent from his reliance on 'instinct' and 'intuition'. of play", which can promote "a life-enhancing charm" These terms might be associated with 'whimsicality', in architecture. 'randomness', or 'irrational', descriptions which "the Huizingha's idea that play "has its place in a sphere first historians" of modern architecture generally superior to the strictly biological process of nutrition, d i s r e g a r d e d . H o w e v e r, A a l t o h a d c o n f e s s e d t h e reproduction and self-preservation" can be applied importance of such ideas in his architecture: "Always to the relationship between form and function in there will be more of instinct" (1940); and "Intuition architecture. Frank Lloyd Wright and Hugo Häring, can sometimes be astonishingly rational" (1972). the advocates of organic architecture in America and Looking back, intuition was actually the foundation Europe respectively, asserted an indivisible connection of the Western philosophical edifice since Descartes, of form and function in their designs. As Wright the father of continental rationalism, adopted intuition (1939) was loyal to the concept that "Form Follows in his famous reasoning process. In the first of the Function" and even argued that "Form and Function 12 JAABE vol.8 no.1 May 2009 Hyon-Sob Kim are One" (p.4), so Häring's organic functionalist theory t h e c i t e d t e x t of Leitsungform or content-driven form emphasizes was written, the 2 6 t h e p u r e r e l a t i o n s h i p b e t w e e n t h e t w o . T h i s m o s t p l a y f u l functional determinism, originated from the biological e l e m e n t i s analogy, cannot but make a fallacy in reality as Philip t h e m i x t u r e Steadmann (1979) depicted, or at least, there is a gap o f v a r i o u s between the principle and the actual building. Not all bricks and tiles aspects of an architectural outcome can be explained by o n t h e w a l l s function only. In cultural and architectural phenomena, t h a t s u r r o u n d in contrast to biological ones, there is always an t h e c e n t r a l Fig.11. Viipuri Library, Undulating aspect that function cannot include. Huizingha argued c o u r t y a r d . Ceiling of an Auditorium. that 'play' is one of these aspects, and Aalto's work expressed this concept. Though Aalto is often regarded T h i s c o l l a g e as belonging to the 'organic circle' along with Wright i s e x t r e m e l y and Häring, his room for play beyond function in form r a t i o n a l , led him to diverge from them. c o n s i d e r i n g In most cases, however, Aalto's play does not remain t h a t t h r o u g h i t as the architect's own vagary. Intuitive play elements h e c a r r i e d o u t in his design are quite often "astonishingly rational" e x p e r i m e n t s o f and also symbolically functional. Moreover, various t h e a e s t h e t i c possibilities of interpretation that the metaphorical e f f e c t a n d u s a g e o f t h e d u r a b i l i t y o f F i g . 1 2 . M u u r a t s a l o E x p e r i m e n t a l p l a y e l e m e n t t h e d i f f e r e n t House, 1952-53: Collage on a Wall with p e r m i t s m a k e m a t e r i a l s i n Different Bricks and Tiles. the architectural t h e n o r t h e r n experience more e n v i r o n m e n t . rich and abundant. Nonetheless, the idea itself – utilizing the building This can be seen walls as an experimental tool – was indeed play, which i n t h e P a i m i o is not one-sided. Aalto's gesture of play reflects his S a n a t o r i u m humorous personality. a n d t h e Vi i p u r i L i b r a r y . T h e 4. Reviving Original Matters Fig.9. Paimio Sanatorium, f r e e - f o r m e d The use of definitions for man, such as 'Homo Entrance Canopy. entrance canopy Sapiens' or 'Homo Ludens', could be seen as our of the sanatorium appears to be arbitrary and clearly attempt to illuminate human nature deep-seated in our playful. However, it is still practical because the shape primitive mind. In a similar way, all of the discussions generally follows the circulation route of cars around concerning a rational or functional matter as well as the entrance. Nevertheless, the shapes of the two ends intuition or play are involved in architecture's primary – a straight line and a semi-circle – are inexplicable c o n c e r n . B u t i t i s b e y o n d t h e d i m e n s i o n l i k e t h e from the functionalist's standpoint. Yet the canopy, often-mentioned tripartite constituents in architecture often called "Aalto's lung" by the nurses, can also of firmitas, utilitas and venustas from Vitruvius. b e i n t e r p r e t e d m e t a p h o r i c a l l y a s t h e a r c h i t e c t ' s Rather, it is more related to an original matter in consideration for the patients who crave for recovery a r c h i t e c t u r e , t h a t i s , t h e b a s i c m o t i v e o f h u m a n from lung disease. It accords with Aalto's claim for dwelling. From this sense, the significance of Alvar psychological reflection. In the Viipuri Library, the Aalto is that his architecture undulating ceiling of the auditorium had been regarded c e a s e l e s s l y r e m i n d s u s o f as an outcome of a scientific experiment, but the the fundamental relationship real acoustic effect is not as successful as expected b e t w e e n a r c h i t e c t u r e a n d according to recent research. Arguably, it illustrates m a n , w h i c h e v e n t u a l l y a symbolic function rather than a practical one. As for b e c o m e s a s s o c i a t e d w i t h Aalto's own house at Muuratsalo (1952-53), for which n a t u r e . A s Vi o l l e t - l e - D u c illustrated, the beginning of architecture was possibly a "primitive hut" woven from branches, grasses and mud. T h i s s h e l t e r i s a d w e l l i n g Fig.10. Viipuri Library, Sketch Showing Acoustic s p a c e , i n w h i c h m a n c a n F i g . 1 3 . P r i m i t i v e H u t , Effect of the Undulating Ceiling. Viollet-le-Duc (1875). escape from the driving rain JAABE vol.8 no.1 May 2009 Hyon-Sob Kim 13 and the threat of wild animals. He is protected there Located in the extreme north of Europe, the country and feels safe. However, nature is not only a threat fights against severe coldness every winter, and so to man but is also an endless source of life. We take nature was always an object of both awe and adoration. the breath of life from the earth, and nature nourishes The natural wonder of the aurora borealis appearing in us everyday. Architecture is a mediator between man the night sky of the arctic region inspires man, while and nature. That is to say, while architecture protects forests and lakes that cover most of the country allow man from a fierce natural environment, it also leads Finns to adhere to the motherly soil. The alluding him to the bosom of Mother Nature. This is the basic image of a forest and nature in the Finnish national relationship between architecture and man. For Aalto, epic Kalevala reveals the rapport with nature that is to reflect upon this relationship both consciously and alive in their history and flesh. For Aalto, who grew unconsciously was more essential than merely adhering up in "communion with nature" from his childhood to a certain theory. onwards, it was obviously natural and fundamental Aalto's Muuratsalo house is appealing not only to attempt to illustrate the Finnish natural environment because of his gesture of play or the experimental t h r o u g h a r c h i t e c t u r e . A rg u a b l y, o n e o f t h e b e s t attempt, but also because of the profundity assumed by examples that show a full t h e e n c l o s e d association with nature c o u r t y a r d . is the forest image of the This enclosed Villa Mairea (1937-39). o u t d o o r N o t o n l y i s i t s i t e d s p a c e i s t h e a m i d a p i n e f o r e s t , b u t a r c h e t y p e o f t h e b u i l d i n g i t s e l f a l s o a l l h u m a n discloses several layers habitation. It o f f o r e s t s . A r r i v i n g a t F i g . 1 6 . Vi l l a M a i r e a A m i d gives us both the house after passing Forest, Noormarkku, 1937-39. p h y s i c a l a n d t h r o u g h w o o d s , w e Fig.14. Muuratsalo Experimental House, Site Plan. psychological come to face under the entrance canopy a screen of c o m f o r t . unbarked saplings, a sensitive intermediary between T h e s p a t i a l the real forest of the i n w a r d n e s s o u t e r w o r l d a n d t h e e x p r e s s e s a m i c r o c o s m i c f o r e s t m a n ' s b a s i c i n s i d e t h e h o u s e . I n i n s t i n c t f o r t h e e n t r a n c e h a l l , a s e n s e o f sleekly finished poles s e c u r i t y , a p p e a r t o a l l u d e t o w h i c h m i g h t trees in a wood. The originate from m a i n s t a i r c a s e i s a t h e f o rg o t t e n m i n i a t u r e f o r e s t . I t s Fig.17. Villa Mairea, Entrance m e m o r y o f p o l e s s t a n d i n l i n e , Canopy. a m o t h e r ' s densely but randomly. Fig.15. Aalto Buring Twigs at the Central Fireplace of the Muuratsalo Courtyard. w o m b . W h e n t h e s u n s e t s , Nevertheless, the evening glow that the Muuratsalo courtyard actually opens towards c o m e s t h r o u g h t h e n a t u r e . T h r o u g h a l a rg e o p e n i n g i n o n e s i d e a n d l a rg e w i n d o w s p l i t s a vertical trellis on the other; it is fused with the into many fractions in surrounding forest. As an intermediary space, it guides the screen of the poles, our transition from inside out to outside in. Wild nature a s t h o u g h a m i d s t a is softened here and the carefree indoor mind prepares thick forest. Richard for the tough reality of the outside. And, the exact Weston (1992) regards Fig.18. Villa Mairea, Staircase in square form of the court does not become a stuffy the "forest space" as the Living Room. geometry. Rather, it suggests the timeless value of the a d e c i s i v e c o n c e p t primary gestalt. Moreover, the fireplace at the heart of with which to appreciate the house, and describes: the court alludes to the primitive gathering around the "Wandering around the living room, one experiences fire. The glaring flame heats up the body and soul, and [ … ] s o m e t h i n g v e r y m u c h a k i n t o t h e f e e l i n g o f the shimmering light illuminates a spiritual aspect of wandering through a forest in which spaces seem to the first community. This elemental image is touching form and re-form around us: in a forest, the individual at the level of deep human consciousness. feels himself to be the moving centre of its spaces." Behind these characteristics of Aalto's architecture, Finns, the children of a forest who were born in and there is the unique natural environment of Finland. educated by it, are awakened to the source of their 14 JAABE vol.8 no.1 May 2009 Hyon-Sob Kim existence by the forest experience in the Villa Mairea. relationship is reflected in Aalto's design, directly and However, Aalto's communion with nature does not indirectly as well as practically and metaphorically, mean that he remained in nostalgic naturalism. While which is more fundamental in architecture than any natural elements are omnipresent in his design, the other superlative theories. Therefore, this paper can more significant quality of the design is its allusion conclude that Aalto's architecture has a timeless value to an origin concerning architecture and man. As and that he demonstrated an example of humanizing Porphyrios (1980) argued, Aalto retrieved an "aura" architecture. that architecture had lost for a long time (pp.113-115). Acknowledgment For Aalto, in modern architecture it became possible * This research was supported by a Korea University to keep the primitive and the modern side by side and Research Grant. to reconcile the two. Therefore, his design deserves to be regarded as an exemplary answer in architecture to Notes Paul Ricoeur's question: "how to become modern and "Alvar Aalto's work has meant the most to me of all the work to return to sources." of the Modern masters. It is for me the most moving, the most relevant, the richest source to learn from in terms of its art and technique." Venturi, R. (1977) 'Learning from Aalto', Progressive 5. Conclusion Architecture, 4:77, p.54. This research began with the premise that Aalto's "His historical significance has perhaps been rather exaggerated; architecture is no less influential now, after modernism, with Aalto we are outside of the great themes that have made the than it was during modernism. However, this does not course of contemporary architecture so dramatic. The qualities undermine his position as a modern architect. Without of his works have a meaning only as masterful distractions, not subject to reproduction outside the remote reality in which doubt, Alvar Aalto is a modernist. Even though his they have their roots." Tafuri, M. and Dal Co, F. (1980) Modern design illustrates some complexities and ambiguities, Architecture, Academy Edition, London, p.365. he always tried to resolve the contradictions – an 3 Concerning the events, see Blundell Jones, P. (2002) Modern a t t i t u d e w h i c h d i f f e r e d f r o m t h a t o f m a n y p o s t Architecture Through Case Studies, Architectural Press, Oxford, pp.10-46. modernists who do not hesitate to demonstrate the Schildt, G. (1986) Alvar Aalto: The Decisive Years, Rizzoli, New conflicts. No less than any other utopian modernists, York, p.227, and Zevi, B. (1950) Towards an Organic Architecture, h e d r e a m e d a n d t r i e d t o c o n s t r u c t a h a r m o n i o u s Faber & Faber, London, p.57. society. Even when his optimism was repressed by the A a l t o , A . ( 1 9 4 0 ) ' T h e H u m a n i z i n g o f A r c h i t e c t u r e ' , T h e experience of reality, he would not abandon his last Technology Review, November 1940. Republished in: Schildt, G. (ed.) (1997) Alvar Aalto in His Own Words, Otava, Helsinki, hope and stated: "You can't save the world, but you can pp.102-107. set it an example." Behne, A. (1996) The Modern Functional Building, trans. M. Nevertheless, it is remarkable that Aalto's design Robinson from Der moderne Zweckbau, Getty Research Institute, retains something that cannot be understood by the Santa Monica, p.138. modern rationalist idea. This paper focused on this Gropius, W. (1956) 'Houses, Walk-ups or High-rise Apartment Blocks?' Scope of Total Architecture, George Allen & Unwin Ltd. notion and attempted to investigate his architectural London, p.125. conception revealed by his own words. To sum up, Blundell Jones, P. (1999) Hugo Häring: The Organic versus the this paper argues that the article 'The Humanizing of Geometric, Axel Menges, Stuttgart, pp.36-39. Architecture' best shows his critical stance towards Colquhoun, A. (1976) 'Alvar Aalto: Type versus Function', Essays the technology-oriented rationalism, which could in Architectural Criticism: Modern Architecture and Historical Change, MIT Press, Cambridge MA, pp.75-82. be connected to Adorno and Horkheimer's criticism Concerning "Rationalism" in the early modern architecture, see against instrumentalized rationality. For Aalto, true Collins, P. (1967) Changing Ideals in Modern Architecture, McGill rationalism should be synthetic to cover all fields of University Press, Montreal, pp.198-217. human activities, which is "humanly rational" in his Habermas, J. (1983) 'Modernity – An Incomplete Project'. In: own term. However, man is not only a rational being Foster, H. (ed.) The Anti-Aesthetics: Essays on Post-Modern Culture, Bay Press, Port Townsend WA, pp.3-15. but also a player. His argument for the relevance of Adorno, T. and Horkheimer, M. (1997) Dialectic of Enlightenment, play in architecture corresponds to Huizingha's theory Verso, London, pp.xi-xvii. of Homo Ludens. Play elements in Alvar Aalto's Aalto, A. (1940) op. cit. designs complement the unbalanced formula between Ibid. Ibid. form and function of modern architecture since they Aalto, A. (1953) 'Experimental House at Muuratsalo', Arkkitehti, incorporate humanitarian and psychological aspects. no. 9-10. Republished in: Schildt, G. (ed.) (1997) Alvar Aalto in These elements, though sometimes seemingly too His Own Words, Otava, Helsinki, pp.234-235. individual and arbitrary, are often proved to be very This transition is best illustrated in his collective housing design. rational as he maintained, and symbolically functional See Kim, H. S. (2006) 'Another Tradition of Modern Collective Housing Design: A Study on Alvar Aalto's Collective Housing', in many cases. However, the major argument of this Journal of Architectural Institute of Korea, 22(7), pp.147-154. research is that all the discourses concerning Aalto's Peter Blundell Jones used the term to indicate Nikolaus Pevsner, architecture eventually converge on original matters S i g f r i e d G i e d i o n a n d H e n r y R u s s e l l H i t c h c o c k , w h o w e r e concerning architecture, man and nature. In brief, unsuccessful to embrace other traditions of modern architecture. a r c h i t e c t u r e m e d i a t e s m a n a n d n a t u r e . A n d , t h i s Blundell Jones, P. (2002) op. cit., p.5. JAABE vol.8 no.1 May 2009 Hyon-Sob Kim 15 19 Schildt, G. (1972) 'Interview with Alvar Aalto', Finnish Television. 7) Collins, P. (1967) Changing Ideals in Modern Architecture, McGill In: Fleig, K. (ed.) (1978) Alvar Aalto: Band III, Verlag für University Press, Montreal. Architektur Artemis Zürich, pp.232-233. 8) Colquhoun, A. (1976) Essays in Architectural Criticism: Modern It was clarified in his earliest writing 'Rules for the Direction of Architecture and Historical Change, MIT Press, Cambridge MA. the Mind'. See Descartes, R. (1931) The Philosophical Works of 9) Descartes, R. (1931) The Philosophical Works of Descartes, trans. Descartes, trans. E. S. Haldane and G. R. T. Ross, Cambridge E. S. Haldane and G. R. T. Ross, Cambridge University Press, University Press, Cambridge, p.7. Cambridge. Leslie J. Beck added the adjective "intellectual" to Descartes' 10) Descartes, R. (1968) Discourse on Method and the Meditations, intuition to distinguish it from the conventional meaning. The trans. F. E. Sutcliffe, Penguin Books, London. commentator argued that the terminology could be paraphrased as 11) Fleig, K. (ed.) (1978) Alvar Aalto: Band III, Verlag für Architektur "immediate apprehension", "intellectual insight", or "intellectual Artemis Zürich. vision". Beck, L. J. (1952) The Method of Descartes, Clarendon 12) Foster, H. (ed.) The Anti-Aesthetics: Essays on Post-Modern Press, Oxford, p.50. I got to know this reference from Kang, T. W. Culture, Bay Press, Port Townsend WA. (2006) 'Erasure of Memory and Theory of Modern Architecture', 13) Frampton, K. (1998) 'Legacy of Alvar Aalto: Evolution and Journal of Architectural History, 15:4, pp.23-36. Influence'. In: Reed, P (ed.), pp.119-39. Huizinga, J. (1949) Homo Ludens: A Study of the Play-Element in 14) Gropius, W. (1956) Scope of Total Architecture, George Allen & Culture, Routledge & Kegan Paul, London, p.4. Unwin Ltd. London. "Whether or not Yrjö Hirn was the direct cause, at any rate the 15) Hearn, M. F. (ed.) (1990) The Architectural Theory of Viollet-le- influence of his personality contributed to my firm conviction and Duc: Readings and Commentary, MIT Press, Cambridge MA. instinctive feeling that […] we must continue to believe in the 16) Heynen, H. (1999) Architecture and Modernity, MIT Press, crucial significance of play when building a society for human Cambridge MA. beings, those grown-up children." Aalto, A. (1953) op. cit. "When 17) Huizinga, J. (1949) Homo Ludens: A Study of the Play-Element in my old friend Yrjö Hirn, Professor of Aesthetics and the History of Culture, Routledge & Kegan Paul, London. Literature, says that one of the fundamental elements of art is play, 18) Jencks, C. (1977) The Language of Post-Modern Architecture, I agree with him wholeheartedly." Schildt, G. (1972) op. cit. Rizzoli, New York. I got the reference (Barnlek) and its main idea from Dr. Joanna 19) Lönnrot, E. (1989) The Kalevala, trans. K. Bosley, Oxford Elfing-Hwang, a Finnish researcher at Leeds University. Joanna University Press, Oxford. Elfing-Hwang (igsjeh@leeds.ac.uk) (8 August 2008), 'Re: Yrjo 20) Pearson, D. (1978), Alvar Aalto and the International Style, Hirn's concept of "play"', Personal email to Hyon-Sob Kim Whitney Library of Design, New York. (archistory@korea.ac.kr). 21) Porphyrios, D. (1982) Sources of Modern Eclecticism: Studies on Huizinga, J. (1949) op. cit., p.9. Alvar Aalto, Academy Edition, London. Concerning Häring's design and theory, see Blundell Jones, P. 22) R e e d , P ( e d . ) ( 1 9 9 8 ) A l v a r A a l t o : B e t w e e n H u m a n i s m a n d (1999) op. cit. Materialism, Museum of Modern Art, New York. Steadmann, P. (1979) 'The consequences of the biological fallacy: 23) Schildt, G. (1984) Alvar Aalto: The Early Years, Rizzoli, New functional determinism', The Evolution of Designs: Biological York. a n a l o g y i n a rc h i t e c t u re a n d t h e a p p l i e d a r t s , C a m b r i d g e 24) Schildt, G. (1986) Alvar Aalto: The Decisive Years, Rizzoli, New University Press, Cambridge, pp.186-208. York. Weston, R. (1995) Alvar Aalto, Phaidon, London, p.53. 25) Schildt, G. (1991) Alvar Aalto: The Mature Years, Rizzoli, New Blundell Jones, P. and Kang, J. (2003) 'Acoustic Form in the York. Modern Movement', Architectural Research Quarterly, 7(1), 26) Schildt, G. (ed.) (1997) Alvar Aalto in His Own Words, Otava, pp.75-85. Helsinki. "Kalevala" is a Finnish national epic based on the oral poetry of 27) Steadmann, P. (1979) The Evolution of Designs: Biological Karelia, the borderland between Finland and Russia, which was a n a l o g y i n a rc h i t e c t u re a n d t h e a p p l i e d a r t s , C a m b r i d g e compiled and first published by Elias Lönnrot in 1835. Lönnrot, E. University Press, Cambridge. (1989) The Kalevala, trans. K. Bosley, Oxford University Press, 28) Tafuri, M. and Dal Co, F. (1980) Modern Architecture, Academy Oxford. Edition, London. Schildt, G. (1984) Alvar Aalto: The Early Years, Rizzoli, New 29) Venturi, R. (1977) 'Learning from Aalto', Progressive Architecture, York, p.59. 4:77. Ricoeur, P. (1961) 'Universal Civilization and National Culture'. 30) Weston, R. (1992) Villa Mairea, Architecture in Detail, Phaidon, Cited in Frampton, K. (1983) 'Towards a Critical Regionalism'. In: London. Foster, H. (ed.) op. cit., pp.16-30. 31) Weston, R. (1995) Alvar Aalto, Phaidon, London. Schildt, G. (1991) Alvar Aalto: The Mature Years, Rizzoli, New 32) Wright, F. L. (1939) An Organic Architecture: The Architecture of York, p.157. Democracy, Lund Humphries, London. 33) Zevi, B. (1950) Towards an Organic Architecture, Faber & Faber, London. References 1) Adorno, T. and Horkheimer, M. (1997) Dialectic of Enlightenment, Verso, London. Illustration Credits (Sources) 2) Beck, L. J. (1952) The Method of Descartes, Clarendon Press, Le Corbusier (1925): 1/ Gropius (1956): 2/ Pearson Oxford. (1978): 3, 8/ Reed (1998): 4, 5, 11, 12, 14, 15/ Weston 3) Behne, A. (1996) The Modern Functional Building, trans. M. (1995): 6, 7, 10/ Author: 9, 16, 17, 18/ Hearn (1990): Robinson from Der moderne Zweckbau, Getty Research Institute, Santa Monica. 4) Blundell Jones, P. (1999) Hugo Häring: The Organic versus the Geometric, Axel Menges, Stuttgart. 5) Blundell Jones, P. (2002) Modern Architecture Through Case Studies, Architectural Press, Oxford. 6) Blundell Jones, P. and Kang, J. (2003) 'Acoustic Form in the Modern Movement', Architectural Research Quarterly, 7(1), pp.75-85. 16 JAABE vol.8 no.1 May 2009 Hyon-Sob Kim
Journal
Journal of Asian Architecture and Building Engineering
– Taylor & Francis
Published: May 1, 2009
Keywords: Alvar Aalto; modern architecture; rationalism; play; humanizing of architecture
