The Human Scale

Designer: James Richardson

S5254280

Title: The Human Scale: Alvar Aalto’s Functional Modernism

Output Type: Design

Location: Griffith University Gold Coast Campus Science, Engineering, and Architecture, G39 Level 3

Course: 2907ENG

Operative Architectural History

Date: May 8th 2023

Research Statement

This research examines specific elements from the work of Alvar Aalto and disseminates qualities which have been intentionally designed for the benefit of human users and/or occupants. Qualities study are not measurable qualities but instead are elements that influence intuitive behaviour in humans. The project aims to develop interactive prototype models for wider research potential outside of the designer’s personal experience, observation, and emotive response. The identification of non-metric elements can influence contemporary design by expanding functional focus onto a broader understanding of human interaction and experience of space.

Research Questions

How does Alvar Aalto’s concept of ‘Gesamtkunstwerk’ develop richer architecture for the benefit of the human experience?

What does it mean to have a human experience of place, space, and time and why do these distinctions matter?

What elements of Alvar Aalto’s work show an examination of the human experience within architecture beyond utilisation and how can these elements be replicated into interactive exhibits?

It is hard to study that which is intuitive. As humans we know what works and what does not. We feel it. It is a sense that defies rationality.

Research Process

List of exhibition pieces

Item 1 - Framed View Baker House

Item 2 - Saynatsalo Jigsaw Saynatsalo Town Hall

Item 3 - Handles

Finlandia Hall

Item 4 - Library Boxes Viipuri Library

Artistic Statement

‘The Human Scale’ is not an examination of proportions or their effectiveness, that field of study is ergonomics. ‘The Human Scale’ looks to examine beyond measurable metrics and instead focuses on an emotional relationship that people have with space, it looks at how the human conscience perceives the environment around itself and centralises design to anticipate how people interact with space. Architecture is built around human factors rather than constructed forms in which humans then inhabit.

This exhibit is named after the journal, ‘The Human Scale’, that Alvar Aalto attempted to publish.1 This exhibit is an introduction into the unique branch of modernism that Aalto practiced, and asks you, the audience, to interact with the artifacts here and experience what it means to design with the human experience in mind.

Aalto’s work focused on several ideologies throughout his career, but a core theme was always designing around the sensation of presence within a space. Not the presence of the architecture and its grandiose forms, textures, and materiality but how it feels to be in a space. Aalto’s core ideology (particularly evident in his earlier works) was ‘gesamtkunstwerk’, creating the totality of an artwork. For Aalto this meant designing custom furniture and fittings for his projects; leading the founding of Artek in 1935, a furniture company that still operates out of Helsinki. To Aalto the experience of the human extended beyond the structural elements that comprised architecture and delved into the furniture and fixtures which were the primary interactions of the space.

Whilst a modernist architect, Aalto’s style was intrinsically linked with the Nordic style developed in his early training. Nature was a core aspect of his style and crept into many of his designs, paradoxically to the modernist style which often ‘purged’ natural materials for new innervations.2 This does not mean Aalto was averse to new technologies, on the contrary Aalto embraced technology as a means to further natural presences within architecture.3 It was from natural sources that Aalto often developed his solutions to humanise architecture, and technological developments that provided the means.

Whilst much has been written about Aalto’s architectural mastery, (Aulis Blomstedt said ‘beauty was easy for Aalto, too easy’)4 , it is important to speak of Aalto the architect in conjunction with Aalto the man. Every day outside his house was a chance for Aalto to experience a human episode; Giedion recalls Aalto’s first speech at CIAM in 1929 as a recollection, not on architecture, but on an encounter Aalto had had outside his hotel that morning.5 For Aalto, architecture was a means to connect with the common man and his designs found easier favour with the public than others of his time.6 Where for so many others, architecture was a measure of man mastering his environment and creating control over the landscape, for Aalto, architecture was human.

1 Nicholas Ray, Alvar Aalto (New Haven: Yale University Press, 2005), 149.

2 Ray, Alvar Aalto, 152.

3 Ray, Alvar Aalto, 165.

4 Ray, Alvar Aalto, 166.

5 Sigfried Giedion, Space, Time and Architecture: the growth of a new tradition (Cambridge: Harvard University Press, 1941), 665.

6 Giedion, Space, Time and Architecture, 666.

Figure 1. Alvar Aalto, Photo by Eva and Pertti Ingervo. Reproduced from Alvar Aalto Museum, https://www.aalto.fi/en/ campus/alvar-aalto-and-otaniemi-campus

To the lay person, views can be one of the most obvious influences on first and lasting impressions. Working with ‘The Human Scale’ means designing for users who don’t have a developed understanding of architecture, and so views can be an easy avenue to show the power of architecture.

Whilst tasked with several restrictions when designing Baker House (1949), Aalto arranged the program of the building and developed an optimised curve so that “every student has a clear view of the Charles River without being made aware of the large expanse of the building”.1 This re-iteration of the curved wall shows how views across the building develop equal opportunities to all users.

1Giedion, Space, Time and Architecture, 636.

Item 1 - Framed View Baker House (1949)

Figure 2. Framed View

Process and Research

A number of constraints were put onto the design of Baker House. Due to war efforts, the budget was small and a growing need for housing require Aalto to maximise dormitory space.1 Irregular burnt bricks and recycled metal scraps founded the main facade, and excessive elements such as a roof garden and ivy trellis were dropped to accommodate this budget.2 Despite these changes, Aalto refused to have north facing rooms and positioned all rooms either east or west facing to accommodate river views, enlarging some spaces as necessary. 3

A series of waves were tested for optimal viewing angles. I discovered that if a straight line was drawn directly between the end points of the curve, any curve that passed through the line would have less than a 28 degree deviated view before seeing the building. Extending part of a curve or straight sections ultimately decrease deviated viewing angles.

The construction of the images was taken using a 30 degree deviated view mapped onto a semicircle, which was then projected onto the panorama of Boston at a rate of 1 degree per 20mm horizontal distance. Views were then compressed into the 65mm frames used in the final artefact.

1 Louna Lahti, Aalto (Cologne: Taschen, 2004), 51.

2 Lahti, Louna, Aalto, 52.

3 Adelyn Perez, “AD Classics: MIT Baker House Domritory / Alvar Aalto”, Archdaily, published 29 May, 2010, https://www.archdaily.com/61752/ad-classics-mit-baker-house-dormitory-alvar-aalto?ad_ source=myad_bookmarks&ad_medium=bookmark-open

Figure 3. Baker House, photo by dDxc. Reproduced by Archdaily https:// www.archdaily.com/61752/ad-classics-mit-baker-house-dormitory-alvaraalto/5037e00628ba0d599b000144-ad-classics-mit-baker-house-dormitory-alvar-aalto-photo

Figure 4. Curvature Testing

Figure 5. Angular Calculations

Have you ever walked into a space and realised it wasn’t where you intended to go? How do you find your way around in a new building?

Do you try maps? Signs? Or does the architecture guide you along? Like a jigsaw puzzle, architecture can lay clues in shape, colour, form, and focus. ‘The Human Scale’ is utilised to predict where these clues need to be placed to guide you around an unfamiliar space.

When designing Säynätsalo Town Hall (1952) Aalto utilised geometry to part functions and distinguish uses in this multi-program structure.1 The stairs guided visitors to the central courtyard, and ‘The Human Scale’ directed them from there.

1 Ray, Alvar Aalto, 112.

Item 2 - Saynatsalo Jigsaw Saynatsalo Town Hall (1952)

Figure 6. Saynatsalo Jigsaw

Jigsaw

Process and Research

Whilst part of a larger triangular green complex, the Saynatsalo Town Hall (termed by Aalto) is considered Aalto’s masterpiece and set the pattern for his post-war work.1 Aalto’s specific requirements split programing into three separate areas and placed a large courtyard as a directional point in the centre. The elevation of the courtyard to the 2nd floor furthered this division of space, with users in the courtyard observing single story structures but observers outside perceiving a monolith.2 The ‘tower’ in the southeast corner acts a symbol of unity and covers the council chambers directly below.3

A study of the programming showed the central floor to provide both the most diversity as well as clear example of spacial organisation. Original prototypes split the floor plan into 12 parts, but in respect to time taken to complete a puzzle compared to audience retention during exhibition the piece count was dropped to 6.

Testing of arrangements showed that false positions were rare and usually temporary, often with the piece turned incorrectly. Instructions were devised after questions form testers about stacking pieces, flipping programs and program meaning.

1 Ray, Alvar Aalto, 109.

2 Luke Fiederer, “AD Classics: Saynatsalo Town Hall / Alvar Aalto”, Archdaily, published 9 March 2016, https://www.archdaily.com/783392/ad-classics-saynatsalo-town-hall-alvar-aalto?ad_source=myad_ bookmarks&ad_medium=bookmark-open

3 Lahti, Louna, Aalto, 57.

Figure 7. Saynatsalo Town Hall, photo by Zache. Reproduced by Archdaily https://www.archdaily.com/783392/ad-classics-saynatsalo-town-hallalvar-aalto/56de43fbe58eced2d400013f-ad-classics-saynatsalo-town-hallalvar-aalto-image?next_project=no

Figure 8. Saynatsalo Town Hall Plans, photo by Wittenborn & Company. Reproduced by Archdaily https://www.archdaily.com/783392/ad-classicssaynatsalo-town-hall-alvar-aalto?ad_source=myad_bookmarks&ad_ medium=bookmark-open

Figure 9. Prototype experimentation and user interaction tests

Item 3 - Handles Finlandia Hall (1971)

Architects must carefully consider several factors when selecting materials. The design of Finlandia Hall (1971) faced many challenges regarding the climate. It notably had issues with marble which warped in the cold temperatures.1 But in a space filled with brass, marble, and plaster, which become cold to the touch during winter, it is the presence of leather rapped around the handrails that evident the consideration of ‘The Human Scale’

This artifact is a chance for the audience to physically observe the factor of sensation when selecting materials to use. Are they comfortable to touch, to run your hand along, to grasp during a fall? Or are some materials better not used regardless of their other qualities?

1 Ray, Alvar Aalto, 144.

Figure 10. Handles Side A

Figure 11. Handles Side B

Handles

Process and Research

Designed as part of a larger master plan for Toolo Bay, Helsinki, the opera hall was the only part of the plan fully constructed.1 An attempt to find a replacement architect was made after Aalto’s death with no success.2 The entire structure was marred in materiality issues, the marble warped in the cold, and the sounding room failed to regulate acoustics.3 These failures helped Aalto with design changes to the opera house in Essen which had been delayed.4

It is easy to see elements from previous works in motion here; the large views over the lake are reminiscent of orientation from Baker House, and the monolithic marbled called back to Saynatsalo.5

Aalto would pass away the year after the completion of Finlandia Hall.

A series of materials were considered for the artefact. 4 were chosen for simplicity and accessibility. Materials not used include twine, sandpaper, bubble wrap, sawdust, Styrofoam, and a bare handle. The chosen materials represented a diversity of positive and negative materials to accentuate the point of material importance.

1 Ray, Alvar Aalto, 136.

2 Ray, Alvar Aalto, 136.

3 Lahti, Louna, Aalto, 91.

4 Lahti, Louna, Aalto, 91.

5 Ray, Alvar Aalto, 137.

Figure 12. Finlandia Hall, photo by Fethulla. Reproduced by Alvar Aalto Foundation https://www.alvaraalto.fi/en/architecture/finlandia-hall/

Figure 13. Construction of Handles

Figure 14. Wrapped Handrails, photo by unknown. Reproduced by Architectural Digest https://www.architecturaldigest.com/gallery/alvar-aaltofinlandia-hall

Item 4 - Library Boxes Viipuri Library (1935)

Light is a fundamental element to architecture, but its use, effectiveness and implementation causes a deserved discussion. Lighting standards that are based on metrics often favour artificial lighting but ignore qualitative effects of natural daylighting in its narrow functional definitions.1

Alvar Aalto found a new solution for Viipuri Library (1935). The main hall is illuminated through a grid of cylindrical skylights that filter light below, providing natural light without direct sunlight onto books nor shadows.2 ‘The Human Scale’ considers the quality and quantity of light for the space and for its use.

1 Mary Ann Steane, The Architecture of Light: Recent Approaches to Designing with Natural Light, (London: Taylor & Francis Group, 2011), 79.

2 Lahti, Louna, Aalto, 19.

Figure 15. Library Boxes

Process and Research

Viipuri Library is arguably the design that put Alvar Aalto onto the world stage. It was this 57 skylight grid design that established Aalto’s use of light;1 a technique that is found in all 3 other designs focused on in this exhibition. The library is also a prime example of Aalto’s unique funcionalist modernism style with elements deviating from pure functionalism without being overtly ornate either.2 Being one of Aalto’s earlier works it is also visably geometrical, being composed of two intersecting rectangles which carry the grid pattern of the lighting throughout the design.3 Aalto’s focus on ‘The Human Scale’ in this design almost emulates deconstructionalism 4 decades early.4 Despite these deviations from what would become Aalto’s lasting style, his return to nature is evident through a centralised, circular, wooden desk and the presence of 6 different wood types throughout.5

The design for the boxes originally included a diorama within the box to show light bouncing off of elements. This was replaced with writing to further hone in on the element of ‘The Human Scale’ over a mere assessment of light. The boxes were also originally 1 with a changeable roof, but this was altered in favour of speed and ease of access. The diffusing elements are also altered from Aalto’s design for ease of use; Aalto’s design utilises another bend in the cylinder which returns to a vertical angle. For this demonstration a single bend is sufficient however it does allow a small sliver of light into the diffusion box.

1 Lahti, Louna, Aalto, 19.

in-Viipuri-Library_ fig3_271450579

2 David Langdon, “AD Classics: Viipuri Library / Alvar Aalto”, Archdaily, published 18 May 2015, https:// www.archdaily.com/630420/ad-classics-viipuri-library-alvar-aalto?ad_source=myad_bookmarks&ad_ medium=bookmark-open

3 David Langdon, “Viipuri Library”

4 David Langdon, “Viipuri Library”

5 Lahti, Louna, Aalto, 21.

Figure 16. Viipuri Library Lights, photo by The Finnish Commitee for the Restoration of Viipuri Library. Reproduced by Archdaily https://www.archdaily.com/630420/ad-classics-viipuri-library-alvaraalto/547e4908e58ece885e000010-looking-toward-the-c?next_project=no

Figure 17. Construction of Boxes

Figure 18. Refracted Light Diagram photo by Pam Harwood. Reproduced by Researchgate https:// www.researchgate. net/figure/Daylightand-artificial-light-

References

Fiederer, Luke, “AD Classics: Saynatsalo Town Hall / Alvar Aalto”, Archdaily, published 9 March 2016, https://www.archdaily.com/783392/ad-classics-saynatsalotown-hall-alvar-aalto?ad_source=myad_bookmarks&ad_medium=bookmark-open Giedion, Sigfried, Space, Time and Architecture: the growth of a new tradition, Cambridge: Harvard University Press, 1941.

Lahti, Louna, Aalto, Cologne: Taschen, 2004.

Langdon, David, “AD Classics: Viipuri Library / Alvar Aalto”, Archdaily, published 18 May 2015, https://www.archdaily.com/630420/ad-classics-viipuri-library-alvaraalto?ad_source=myad_bookmarks&ad_medium=bookmark-open

Perez, Adelyn, “AD Classics: MIT Baker House Domritory / Alvar Aalto”, Archdaily, published 29 May, 2010, https://www.archdaily.com/61752/ad-classics-mit-bakerhouse-dormitory-alvar-aalto?ad_source=myad_bookmarks&ad_medium=bookmarkopen

Ray, Nicholas, Alvar Aalto, New Haven: Yale University Press, 2005.

Steane, Mary Ann, The Architecture of Light: Recent Approaches to Designing with Natural Light, London: Taylor & Francis Group, 2011.

Additional Reading

Baird, George, Alvar Aalto, London: Simon and Schuster, 1971.

Menin, Sarah and Flora Samuel, Nature and Space: Aalto and Le Corbusier, London: Routledge, 2003.

Weston, Richard, Alvar Aalto, London: Phaidon Press, 1995.

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