Aalto, Alvar (1898–1976)

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Alvar Aalto, a Finnish architect first influenced by the international style, created an architecture combining modern and vernacular. Interpreting Aalto’s approach, Winfried Nerdinger describes his architecture in terms of ‘human functionalism’, where the work was less about ‘formal, economic or constructional constraints’ and more concerned with human purposes (Nerdinger, 1999, p. 15). Much of this approach integrated Finnish cultural identity, and acquired undulating, fluid forms, particularly when viewed in plan.

Aalto began his architectural observations in the small town of Jyväskylä. He completed his formal education in architecture at the Helsinki Technical University in 1921. Initially traveling to Stockholm, he began his internship with Arvid Bjerke in Gothenberg. His first major commission came when he won first prize for the Southwestern Agricultural Co-operative Multiuse Building Competition. The Co-operative was constructed between 1927 and 1929, and another important competition success followed in 1929 with the Tuberculosis Sanatorium in Paimio. He became known in the international arena through his design of the Finnish Pavilion at the World Exposition in Paris (1937) and the Finnish Pavilion at the New York World’s Fair (1939) (Pearson, 1978; Schildt, 1989; Nerdinger, 1999). Other important projects include: Villa Mairea (1938–1939); Baker House, Senior Dormitory at MIT (1946–1949); Säynätsalo Town Hall (1951–1952); University of Technology in Otaniem (1955–1964); Opera House at Essen (1959–1961); and Finlandia Hall, Helsinki (1967–1971).

The extensive archive of Aalto’s drawings and sketches reveals his unique hand. Besides the light touch and fluid lines, these lines show strong ending points, as if he was hesitating before removing the pencil from the surface or was reinforcing prominent edges. He entered a dialogue with the images, as they contain notes, calculations, and, in many instances, have been oriented from numerous directions. This immersion in the conversation through the sketch also shows marks where he rested the pencil or prodded the sketch for emphasis. Aalto frequently strengthened important walls or boundaries by continually drawing over his lines. The sketches suggest that he held the drawing instrument so loosely that the image appeared to be articulated independent of his hand. This technique gives the sketches a lively, pulsating quality, that could be compared to a Ouija board, where the light touch enables the line to take on a life of its own.

This early sketch for Finlandia Hall demonstrates Aalto’s design process, describing the indirect flow of spaces and the non-geometric theme of his mature work (Fleig and Aalto, 1995; Schildt, 1989). Alternating between section and plan, this sketch has been crowded with calculations and partially complete forms. The lower section drawing addresses Aalto’s concern for the acoustic qualities of the auditorium in profile. The undulating form of the ceiling also anticipates construction issues. The remainder of the page has been strewn with partial design beginnings, possibly rejected as unpromising directions. The intensely worked plan and section indicate Aalto’s absorption in his design process. To animate is to inspire or endow with life. It can also mean to breathe life into or put into motion. Aalto’s repeated lines tend to give his sketches a nervous animation suggesting his interaction with the project as a living being. Its liveliness reflects the constant motion of his hand and also breathes life into the future building.

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