Abstraction of 'humanizing'

abstraction of “humanizing” Treatment of ‘Nature and Need’ in the interior-architecture of Alvar Aalto,

by palak patel guided by kireet patel co-guided by seema khanwalker Faculty of Design, CEPT University.

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Acknowledgement My forever thanks to the time of being in CEPT, which led me to the wider horizon of thoughts about the field and it shaped me as human more than just designer. This thesis wouldn’t have been possible without support of my both guides who shaped my naive thoughts into tangible understanding. I am thankful to Prof. Kireet Patel, for his instructive discussions by opening up the wider realm of design thinking. And to Prof. Seema Khanwalker for being the seed of the topic and making me sensitised by bringing light to ‘empathy in design’. I am grateful to have her by my side, who brought constant support and faith throughout my journey. I would like to thank Prof. Snehal Nagarsheth for acknowledging the quest of the topic and led me to keep questioning the very meticulous aspects of design. I keep recollecting her words as strength, when ever I lose faith during the journey. I am forever indebted to Krishna mam for grooming us like a mother and letting the child in side us remain as it is to let us design more sensitively. My deep thanks to Hamid Raj, Parantap Bhatt, Samir Shah, Jay Thakkar, Amal Shah, Ramesh Patel for helping me to grow as designer.

My deepest gratitude to Paa, who always nourished me with his positivity and faith, who made sure that I keep dreaming, achieving and never stop believing in myself. Thank you, for waking me up early in those last days when the day of submission was closer. Maa, I never say thank you enough to you but here it is, none of this have been possible if you wouldn’t have supported me to let me be in my own, at times to deal with my lazy self, and with not so helpful daughter. I owe you a lot!! Bhai, I can never thank you enough for all that you have done. From pushing me to dream about CEPT to till today showing faith for my thesis, for letting me grow as independent self to be there by my side when I really just needed you. Thank you for being a parent more than a big brother. Bhabhi, my deepest thank to you for being the sweetest and most calming person in the house.

Any word would feel small to explain how grateful I am to have you Mayuri as my the dearest, loving friend. We have seen a lot together, the ups the downs, dreams, realities, moments which makes us pause to the peaks we have conquered together, the words of people which leave us spellbound to places which soothe us, You have been a constant partner!! Can I even start to say anything about you Shiv!! You have been just everything of mine. My warm regard to you for being a constant support system to show me faith while I self doubted, for being such an amusing company while I was all stressed up in work, for just being patient and faithful. Those endless video calls and laughter were irreplaceable source of happiness to me, along this journey. Thank you for just being You!! You both are my speed dial!!

My appreciation, To Sanskruti and Stuti for setting high aims together and have strong belief to conquer it.

To Raju, Helie, Anshumi, Roma, Rutuja, Dharun for their great help and thoughtful discussions.

To Vivek, Deep, Aadi, Meetu, Aashna and Unnati for always making me believe in my self to keep it going.

In the end to amazing 14th batch for being the super cool, unique bunch of people, whom I will always miss.

Also, thankful to KD sir and Chandra Mam, for being so sweet and helpful. Many thanks to Samir bhai with stationary, to Jigar bhai, Dhaval bhai, and whole Sidhhi Printing shop staff, along with library staff for being so co-operative through out this five years.

My deep gratitude to the legends like B.V Doshi, Alvar Aalto, Aino Aalto, Le Corbusier, Louie Kahn, Carlo Scarpa, Luis Barragan for crafting spaces which were like source of inspiration to me. To people like Juhani Pallasma, Leo Pereira, Aniket Bhagwat, Neelkanth Chaya, Samira Rathod, Riyaz Tayyibiji, Anand Sonecha and Chris Precht whose work and words left me wondering about this Field, and made me dream about designing beautiful, lively habitat.

To this beautiful world, which keeps unrevealing its beauty!!

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I as an individual think that, the built form is humane when it lifts from merely functional approach or a architectural experimentation to when it constantly tries to create a harmonious relation of man with nature , man with another man, man to his community, and man with architecture. If this close relationship of man and architecture can be achieved then the sense of belonging seems to be high, and it can be said that its ‘humanitarian’ and consists higher values.

-By Naoymi Parikh, in Architectonics of a place

abstract As we see, nowadays the contemporary practices are driven by the new phase of architecture, which we call it, as ‘modernism’. In the search of experimental architecture formation, we have forgotten to respond to the most fundamental aspect of architecture for whom it is conceived, being ‘the human’ and by what and where we build, being ‘the environment’; Our natural surroundings. In both ways we can say it intersect at the word ‘nature’. ‘Nature’ in form of living entities as ‘human and environment’.

Man constantly try to find connections with our third world as ‘man-made world, being the architecture.’ Such connections can only be felt if the built environment holds deeper values, in form of ‘humaneness’. Hence we being designers we often tend to recreate such natural phenomena in our spaces, which exists organically within environment and with user. This thesis looks into what humaneness is about? How do we decode humane experiences? How can we create organic aesthetics? how do they emerge?

The study, thus take up Alvar Aalto: the humanist as lens, to understand humane through his organic structure. Since Aalto majorly dealt with ‘nature and human’ to bring new sense of aesthetics and meaning to modern architecture. His design is the model of very meticulous translation of ‘natural phenomena and human need’. Both cases have then been demystified through respective projects and co related with one of the building of Gurjeet Singh Matharoo. To know how the same cases have been treated some where similarly yet differently by different architect in different context.

The thesis try to find answers to understand aesthetics language that lies between modernity and organic, which lead to humaneness as experience.

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ABSTRACT

Introduction (The Why) Aim And Objectives (The What) Scope & Limitation (What Exactly And What Not) Method (The How) SETTING A BASE

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1.1 Establishing ‘Humane’ 1.11 Humane Values :Within An Every Day Object, Space And Place

1.1.2 Lota Theory By Charles Ray And Eames 1.2 Establishing ‘Space’ 1.2.1 Space: the notion of Experience: Function, Context And Spatial Character 1.2.2 Interpreting:

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A. Humane Through ‘Functional’ Model: Alvar Aalto B. Humane Through ‘Contextual’ Model: Tadao Ando C. Humane Through ‘Phenomenological’ Model: Peter Zumthor

1.2.3 The Converging Point: Aalto ALVAR AALTO: HUMANIST

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2.1 Establishing ‘Aalto’ 2.1.1 Aalto’s Concepts And Ideologies 2.2.2 Aalto’s Organic structure 2.2 Two Major Cases: ‘Nature And Natural’ 2.2.1 Case 1: ‘Nature’ As True To Environment 2.2.2 Case 2: ‘Natural’ As True To Humans

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DEMYSTIFYING CASE 1

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3.1 Aalto’s Nature 3.2 ‘Nature’ In Architecture 3.2.1 ’10 Concepts Of ‘Nature And Architecture’ 3.2.2 Nature As Source Of Beauty 3.3 Beauty’ In Acrhitecture 3.3.1 Alberti’s Ultimate Synthesis: Firmitas, Utilitas And Venustas 3.3.2 The Mode Of Inquiry: A. Beauty As Structure B Beauty As Expression C. Beauty As Function 3.3.3 Developing structure 3.4 Exemplifying Case 1 :Villa Maria

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DEMYSTIFYING CASE 2

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4.1 Human need 4.1.1 Shashi Caan’s synthesis: The sphere and triangle of human need 4.1.2 The Mode Of Inquiry: C. Beauty as Function 4.2 Exemplifying Case 2 : Paimio Sanatorium

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DRAWING A PARALLEL: GURJEET SINGH MATHROO 5.1 The Mode Of Inquiry: Case-1 and Case-2

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5.2 Exemplifying: Prathma blood centre CONCLUSION Re-looking at ‘form follows function’ . . . .

Feedback Bibliography

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“the seed Leo Pereira in the book crafted spaces, Let’s begin with beginning, What were your early influences and when did your specific attitude to architecture begin Crystallising?(Author) It was in my third year at the Baroda School when I would come to School of Architecture at Ahmedabad. I used to listen to the senior architects talk a lot about the work of Masters (Le Corbusier & Louis Kahn) The implication used to be; this is what architecture is, this and nothing else.

I thought something was wrong with the attitude and that set me thinking about what architecture should be like. One thing that was beginning at that time was the awareness about ‘ecology and conversation; about using less.’ That was an important influence. The talk those days in architecture was all about monumentality, bigness, large spaces and all that – but I was interested in the very opposite. At some level I had been influenced by Nehruvian Socialism. So all talk about large spaces and monumentality struck me being too directly related to a feudal attitude. I felt the appropriate thing to do would be to bring everything down in scale. I thought by emphasizing horizontality like wright did, you could bring the building down to human level and also keep everyone at the same level. Later, interestingly enough, just by chance I went to a socialist Country-Denmark. In Scandinavian, the architecture is of course generally quite good. I noticed however that If you passed a building you often didn’t notice in the first time around. And not even the second time. But the third time around you would notice it suddenly and realise something interesting was happening there. This was my spirit, I discovered of being in the background.

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INTRODUCTION (THE WHY?) If we try to go back and look at beginnings of architecture or any other kind of designed elements irrespective to scale, its primary concern and originator was human, but is this original need being part of the concern anymore?

“There are not different ‘kinds’ of architecture, but only different situations in order to satisfy man’s physical and psychic needs.” By Norberg- Schulz’s perspective For many different kinds of architecture have started to exist and become more of a concern then the second part of the above cited quote. The technological, structural, economical or fashion driven architecture and design is popping around. The Point is not the above stated concerns are futile but there is something being ignored, and that ignored thing is so intangible that the existence of it in architecture or in design, will not cease out of its ignorance, but it will surely miss a quality; ‘quality of moving those for whom it is conceived’ or ‘quality of being humane’.

Paradoxically it is all emerging from brains and hands of humans.

“What I am thinking of are my human surroundings and of the building, part of people’s lives. That is first transcendent level of my work: attempt to conceive of architecture as human environment.”

-Peter Zumthor (Zumthor 2006,64) This thesis is a result of such wanderings of throughout my journey of ‘being’. And being in the design field, it made me even more curious about what being is all about? How we transcend to spaces created by us? What man-architecture relationship is like? Such quest, lead me to the deeper and wider horizon of thoughts. It tries to connect all the dots of my experiences I have had. By re-looking at it, It attempts to answer; being a kid why I always liked to sit in that particular niche of my old house, why I always chose a certain space to sit in a public place, why after going so many times to Gandhi ashram, it always moved me? The answer of such naive thoughts, which lead to the quest of finding the missing quality in the contemporary spaces; are all about ‘humaneness’ ?

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The quest as a designer, ‘How do we understand humane? What is humane experiences? How do we decode such experience?

What are spatial tools to humanize spaces? What are ‘humanist values’?

AIM (THE WHAT?) Understanding ‘humane’ by ‘nature and need driven’ design process to develop the sense of organic aesthetics, through the work of Alvar Aalto.

The study is an attempt to analyse the “humane values a space holds ”so as what we as designers hold as “humanist values”. Which will form the foundation for the inclusion of the parameters in design in order to achieve the missing humane quality.

METHOD (THE HOW?) To set a base of ‘humane’ through the recollections of stories and experiences. Carry forwarding to establish humane values.

Decoding the ‘fundamental of spatial experiences’, through the perspective of religionists and converging to Aalto. To inquire about ‘the sense of organic’ through his main concept as true to ‘nature and need’ Understanding case 1 the organic aesthetics by the relationship of ‘nature and built environment. And demystifying through a case study of Villa Mairea.

Understanding case 2 the organic aesthetics by the relationship of ‘need and built environment. And demystifying through a case study of Paimio Sanatorium.

Drawing a parallel to Gurjeet Singh Mathroo, to cross check both the Cases and how it translates in Prathma blood center.

Recollecting of data through case studies, to come to a conclusion

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Establishing further scope by raising an issues and closely looking at future of interior design as field.

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LIMITATION (WHAT EXACTLY isn’t) The sequence of sections in this work derives from my sense of appropriateness in explaining my personal approach towards ‘humanizing’ through Aalto. It is not intended as a model for the investigations of ‘humanness’.

Since the topic lies into ambiguities, certain part of the topic is only been studied, to narrow down the inquiry, and have not been looked into the depth.

Thesis is still an exploration sustained by naive intuition and curiosity about the relationship of ‘man-space’ ‘man-nature’ and ‘nature-space’ through the lens of ‘humanizing’ The primary case studies as Villa Mairea and Paimio Santorium have been done as offline studies, hence the inquiry has been supported by available data followed by own interpretation regarding the topic.

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Fig,1.1 Frame structure of the study, Showing topics, subtopics, selection of case studies

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SETTING A BASE Understanding ‘humane’ by demystifying theory and recollecting data

1.1 Establishing ‘Humane’ 1.11 Humane Values :Within An Every Day Object, Space And Place

1.1.2 Lota Theory By Charles Ray And Eames 1.2 Establishing ‘Space’ 1.2.1 Space: the notion of Experience: Function, Context And Spatial Character 1.2.2 Interpreting: A. Humane Through ‘Functional’ Model: Alvar Aalto B. Humane Through ‘Contextual’ Model: Tadao Ando C. Humane Through ‘Phenomenological’ Model: Peter Zumthor

1.2.3 The Converging Point: Aalto

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Beauty is essentially human; it transcends the individual.�

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-Aalto

1.1 Establishing ‘humane’

The quest as designer, ‘How do we understand humane?”

‘What is humane experiences?’

‘How do we decode such experience?’

What are spatial tools to humanize spaces?

What are ‘humanist values’?

“Why certain spaces make us feel more grounded more modest, more like HOME; it lead us to the point where one realizes his own existence. When space becomes an extension of ourselves, as if it’s A MIRROR, that the quality of humaneness transcends within us. A ‘human’ feeling ‘humane’. When man-made creation reaches to the level that it can arouse us by its experience as much as what the living entity can? Such connections hold a greater seminal values, hence it stays with us for long. But for such experiences only natural forces like ‘nature as nature’ and ‘we as human’ have an ability to built up as ‘evoking experience.’ (author) Those are built with the idea of arousal within ‘the interaction of living entities’.

This chapter is collection of all the experiences which triggered the thought of ‘humaneness’ . It draws from the individual experiences, through the supportive theories to explaining fundamentals of space to establishing Aalto as humanist.

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The most significant means of transforming natural space and time into cultural and mental meanings is architecture. As philosopher Karsten Harries states, “Architecture is not only about domesticating space.

It is also a deep defence against the terror of time.

The language of beauty is essentially the language of timeless reality.”1 This transformation takes place mostly on an unconscious level through a silent pre-understanding that provides a horizon for experiences and arising of meaning. The Fusion of self and setting is so complete that we tend to become blind of the characteristics and qualities of our environments. We tend to think of meaning as something that is symbolic and linguistically expressed, but architectural meanings are fundamentally lived existential and embodied experiences that are imbibed in specific spatial situations of which we are not normally aware. As Jean-Paul Sartre states, “understanding is not a quality coming to human reality from outside, it is its characteristic way of existing.”2 The human nest by Juhani Pallasmaa, the preface of book Nesting: Body, dwelling, mind

The passage tries to look at the larger idea of humanizing through the timeless experience. It tries to take us through the thinking where the approach is beyond the realm of ‘functional practice’. And lifts to more humble approach towards the humaneness of the spaces which lies in the intangibles, the unseen, the non-conceptual paradigm.

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humanizing Words around which the topic emerged, humanness, values, organic, nature driven, user driven, integrity,beauty, Structure, expression, function, biomimicry, natural aesthetics, ecology

Thus, the chapter is the recollection of all data which helped me to set a base for the topic. It looks at, from a small to more focal niche to establish such an ambiguous term called ‘humane’ .

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The most difficult problems are naturally not involved in the search for forms for contemporary life. It is a question of working our way to forms behind which real humane values lie.�

-Alvar Aalto

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1.1.1 ‘Humane values’

through an experience of everyday object, space and place

‘People interact with objects’ Peter Zumthor says in ‘Atmosphere’.

He continuous to say that, ‘It is kind of anatomy in it self which interacts with human anatomy, our mind and our soul’ It can be said that ‘humane values’ lies in the ideas of interaction with objects and the environments around us, and thus the experience contains in to binaries, one is tangible, another is intangible, one is conceptual, another is non-conceptual, one is functional other is non-functional, one is direct and another is indirect.

Recolloection of Geoffory Scott’s words, This direct element is into the first hand experience through simple perception and sensuous experience by which the form and tactility of the object is perceived, it is by the laws of our natural responses with the object.

And beyond this there is the indirect element, which is the non-conceptual, the invisible, the intangible, where there are associations, where there is this interaction of object, which lead us of awakening our mind over our conscious reflections in the act. It hence built a more strong connection with the object or the space or place and adds to humane values.

More of a least conscious process which is most deep-seated and continuous process. Like ‘breathing’.

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Where ‘humane’ is seen in day to day life and how? And How does it speak about? Does it speck through the idea of comfort, safety, calmness, convenience, through such emotional triggers?

May be. it lies in the conversation of an object, space or place has with humans. When any object or a space come in connect with humans, and the way it has power to immediately feel connected to us, it is due to what it holds as values by which our own identity is drawn through social, cultural, religious, functional, associative and environmental values. Such experiences we come across on everyday bases, the objects we use in our routine to spaces which feel home , to the place which take deep hold within us.

“ An experience of sitting under a tree; The flickering, light cutting through leaves, casting shadows on the floor, sensitising us by the softness of the texture and colour bringing the sense of warmth and empathy, the organic geometry letting us naturally merge into the surrounding to let it be a free flow of movement, the volume of the foliage making us feel safe and secure, as if it is creating a sense of shelter tending to built a private domain. Such nuances make ‘a tree’ the most habitable shelter, and can be seen as a metaphor of architecture. Such experience which might lie in the intangibles, they come along as hidden values.

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The study draws attention on such inferences to decode ‘humane experiences’.

Few of the affairs as follows,

As object, Ghodiyu,(cradle)

Fig 1.2

An infant cradle of a wooden frame and having cloth attached like a hammock.(fig 1.2) The object having a purpose to help babies sleep. The belief is culturally and scientifically rooted that ‘the rocking motion soothes and relaxes a child to let him sleep quickly.’ It some how try to recreate sense of mother’s womb, evoking the feeling of comfort, and security for mother-child both. The craft of the object and the way it is constructed bring a sense of convenience and trust. Such feelings come from the values it holds in form of the function, socio-cultural, material, very strong associative and regional. These traces, can led to the feeling of ‘humane’ Ghant (bell in temples)

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Carrying a very strong religious values, associating to rituals and connected more to the almighty. The existence have been too long back in the history has the rooted values transcends within us. Wither its due it strong material values, which occurs the striking sounds. It is believed the sound ways affects our heart beats and make us reach to peaks. Such a way value demands material and material also gives the values.(fig 1.3) The intern co-relations of values.

Chai ki pyali (tea pot)

Fig 1.4

This object has such a strong impression, that the moment we see the object and it take us to the tea stalls spreaded around the city. (fig 1.4) It defines social places. More than functional values it holds humane values in form of it being the medium to enhance social experiences. It is a symbolic statement for leisure and social gatherings.

People gather up during certain time of the day to meet others and have chai, feel all relaxed and joyful. The object invites, amusing to instinctive to any and every kind of conversations. It purely deals with very psychological need of the human, carrying a strong associative and social values

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As Space, Aangan (courtyard) Courtyards, being the most important features of Indian architecture, allowing people to perform common functions. The space carries the transformative quality hence, the values might change according to time and purpose. The courtyard has been an extension of the spaces around due to pattern of lifestyle. As we tend to feel liberated while we withdraw over selves from other functions. Also It being semi-enclosed in nature, it helps people to connect to the earth and sky, to the organic world around us. The socio-cultural aspects due to which the orientation, size, placement and the character is defined by the region of the place. How the part of a home is holding functional, social, cultural, associative and environmental values.

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Gandhi aashram why after going so many times to Gandhi ashram, it always moved me?

The space is truly a timeless beauty, due the stories it holds from the past and how architect have sensitively translated Gandhiyan architecture principles. Here the The greater values emerged from one person and his ethos. How the historical values can transcend within us.

The space has very strong connection to earth, sky, air and water, which allows us to build up strong relations to nature. The authenticity and organicity of the spaces, adds to humane characteristics.

Fig 1.6

Kamla House, B.V Doshi’s house The house standing firm from last 60 years, is flourishing as the time passes. Its intimate, humble scale the playfulness of the levels is a very soothing experience. At the same time house manages to surprise you at every depart of the point in a space. Like a mystery box!! The articulation of windows and thresholds, let us connect with nature, where man-architecture-nature relationship can be stronger. The configuration of spaces, as Doshi says ‘house at cross roads’ seems to have strong associative values, then carry forwarded to socio-cultural as well.

Such a built, changed the idea of home, through sensitive gestures towards function, regional, environmental and strong associative values.

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Fig 1.7

As place, Otla (front porch of the house)

Fig 1.8

It is the element becoming a place it self, having a character of bench being part of house and so as of the street. Very meticulous detailing as threshold this element carries. The place inviting social activities like interacting with neighbours, for children to play, for house of the members to loiter around in the evening. One space, allows many event to occur. Otla also holds personal memories and hence associations with it. The nature of it merging to inside or to outside is a very peculiar aspect of it. Thus, Otla is translation of functional, social, cultural, and associative values.

Churaha (pol street chowk)

Fig 1.9

Cross junction of the pol street, becomes an evening leisure place for neighbourhood people. Having traces from very years old past, the place is having transformative character by the time but still it holds the same social values which brings people together and certain age group of people has the associative values, which take them back to liveliness of the pol streets. Few years back chauraha used be the most active zone the city, having local plays, panchayat meetings, kids playing, women doing house chores while talking, these was very prominent part of society. Such a place brought a sense of ‘humanness’ in society.

North lawns

Fig 1.10

A place of comfort for all of us, irrespective to age, gender or occupation. It was where we hung out, took breaks between studios, played music, read books, sketched thoughts or just dozed off on summer nights or winter afternoons. The place holds very emotionals of students, hence associative values. The connection with architecture building, is a strong image which gets registered.

The place be by the very strong social, functional and associative values. It led us feel ‘timeless’ and that’s where the ‘humanness’ is achieved.

Such experimental trails along the journey, raised an origin of the thought about humaneness. Such qualities is what our contemporary built environment have the sense of omission.

Thus, to support these series of observations, the lota theory has been taken to decode ‘humane values.’

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Fig 1.11 Eames house, known as case study house no. 8, was an example of modern architecture. Its industrial aesthetics, brought sense of coldness along.

Fig 1.12 Eames house interiors; their affection of objects, sensitise the space.

Fig 1.13 Kamala house designed by Doshi, How the house leave a banal image because of missing out on object playfulness. The image is retried from 1980s.

Fig 1.14 where as how house transforms with the use of objects around the world, carrying associative values.

1.1.2 ‘Lota theory’

Charles and Ray Eames: objects and their ‘functional aesthetics’

Noting the observation trails about the every day experiences, which tend to make us feel humane by the values they are holding. Such experiences still lie in intangibles and cease out for a supportive theory to decode ‘humane values. And Eames were the one who introduced us to the object values. They went far beyond what was normally expected from designer,

“ They shaped not only things but the way people think about things.”

They changed the way people thought about objects, largely by presenting them in new ways and by encouraging different ways of perceiving, grouping and displaying them. In particular, they used toys and everyday objects to illustrate design principles and crafts skills, and also emphasized the need to understand the contexts in which material culture was produced and used.

In their house, What the Eames did was give each and every one of the objects, their “added values” from the ways they were wrapped, filled, decorated or positioned very often next or near to items more obviously “collectable” or placed on series for more impact. This layer of interiors evoking through objects, were a contradictory image against the coldness of the shell. (fig 1.11 &1.12) A similar traces were found while experiencing Kamala house recently. The way object add values to spaces and transform our interior environments. (fig 1.13 & 1.14) Their respect for objects was rooted in the Arts and Crafts ideals of truth to materials, honesty of construction, joy in labour and the dialectical relationship of beauty and utility.

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LOTA// A very essential object to discuss, how a need is persisted in the design of everyday Indian objects ‘lota’. Charles and Eames lota theory which focuses in the nuances of the object and lives around it.

“HOW DOES ONE GO ABOUT DESIGNING A LOTA?” First, one need to come out of all preconceived ideas on the subject, question the very the most fundamental level of deign process. One needs to consider the very basic functional requirements, like the optimum amount of liquid to be fetched, carried, poured and stored according to the circumstances. (Charles Ray and Eames, 1958, The Indian Report)

Fig 1.15 “The test of a first-rate intelligence is the ability to hold two opposed ideas in the mind at the same time, and still retain the ability to function” -F. Scott Fitzgerald

DECODING LOTA: Form and Functional The optimum amount of liquid to be fetched, carried, poured and stored, the balanced of the object while empty or full, the size-form being considered for any gender of the hands, considering fluid dynamics, Opening of volume in terms of storage usage, form according to palm of the hand and the curve of the hip (fig 1.17) Environmental Heat transfer happens when the water in hot inside? What is a possible material?

Regional Through our living patterns how do we see people carring it through basket or carts or the way, form allows to be on head, hip, hands.

Associative The transformation of its design, keep taking us into the past, Mater’s stories associated Aesthetic Feeling of texture, of inside and outside, How will the object look when sun light reflects? How does it sound when empty/full?

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Eames cherished such examples of unconscious design because it resonated well with their philosophy and approach.

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Fig 1.16 Exploded sketch of lota, showing the layers of form and its fitness as an object.

Fig 1.17 Showing, How the form responds the way it is be holded by user, the curves of the objcet follows the palm and hand and curve of hip. It is also designed keep the stacking in consideration.

Fig 1.18 Showing the different acts of holding ,and how the form allows it happen.

Fig 1.19 Showing different size and form of the same object.

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Space as a Void // Space is a hollow limited externally and filled internally.’

Hence, space is a void between different forms. The hollow void in which objects and events occur having relative position and direction. Here, the void becomes primary medium as a user can inhabit the space. Through this volume of space, we can move, see forms, hear sounds, feel breeze and smell the fragrance. These qualities become the medium to capture the essence of space by the spatial boundaries also defined by components like dimension, scale-proportion, light, visual form, organization of space, material, sound, temperature, etc.(fig 1.21) Space as one of the spatial unit from the perspective of Geoffrey Scott in ‘Architecture of humanism’ Spaces are considered to be a primary spatial units from all.(fig 1. 20) Criticism has singularly failed to recognise this supremacy in architecture of spatial values. The habits of our mind are fixed on matter. We emphasis on what occupies our mind and arrests our eyes. Space is ‘nothing’- a mere negation of the solid. And thus we come to overlook it. But through we may overlook it, space affects us can control our spirit; and a large part of the pleasure we obtain spaces a architecture - pleasure which seems unaccountable.

‘Experience of space is the foundation and framework of all our knowledge of spatio-temporal world. Thus there is an infinite range of spatial forms with the directly experienced physical space at one extreme and the space of mathematical abstract thought at the other.’

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Fig 1.20 Graphical translation of showing line as dotted triangle, masses as cylinder and cube as the space

The three spatial units: Lines Spaces, Masses

Fig 1.21 The Chichu Art Museum by Tadao Ando; identifying the three spatial unit

1.2 Establishing ‘space ‘

‘Architecture deals with spaces directly; it uses space as material and sets us in the midst. Just like how art , music, poetry bring the delight’ (Geoffrey Scott, The Architecture of Humanism - A Study in the History of Taste) He continues to say, that the Space or a gap between solids as forms of walls, ceiling are accustomed to be thought of as void: the absence of mass, filled by air creating the hollow space in order to contain. We experience space as sky, sea or landscape, in the spread of the cities , in the vastness of deserts. We perceive the built space of street, the enclosed space of a room. Space is a three-dimensional geometry and it is also perceptual field.

Fig 1.22 ATMA building, being the example of space-surrounding relationships

Fig 1.23 ATMA building, explaining the space as container

In concrete terms space can be understood as : “Aristotle defines space as a container of things a sort of succession of all inclusive envelopes, from what is ‘within the limit of the sky.’

The experience of individual architectural spaces cannot be seen independent from their context. The question remarks, however if the contextual effects are quantifiable as well. The third classification from the spatial units is perhaps the one extensively in this study is spatial configurations. i.e. the relations between spaces, the inside and outside. On of the best examples of building that incorporates the nuances of the relations between various spaces and containers is the ATMA building. (fig 1.22) The relationship of form to the context, form to the function, and the emerging spatial characteristic from within. The building don’t leave any opportunity to give occupant an evoking experiences. Hence to decode the notion of such experiences to later establish humane space, the study would be taken further in the inquiry of of ‘the notion of experience.’

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Fig 1.24 showing context, eventually suggests the ‘Regional’ model.

Fig 1.25 showing spatial characteristics, eventually suggests’ ‘phenomenological’ model.

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Fig 1.26 Showing the social activities of the space, eventually suggesting ‘function’

1.2.1 Space: the notion of experience

“What I am thinking of are my human surroundings and the building becoming part of people’s life; that is the first transcendent level in my work; the attempt to conceive of architecture as a Human environment.”

-Peter Zumthor (2006,64) From the retrospection of the recollection of experiences, discussions with legends of the field, and also from the sources of literature, now it can be said; the qualities that contributed to the richness of the experiences can be demystified into three categories; 1.Spatial Characteristic 2.Social Activity 3.Context 1.Spatial Characteristics Spatial character, which incorporates all physical entities that the built environment manifests, the elements that enclose the space, it could also, in a much broader sense include the contextual responses that the build incorporates. Of the three categories- This has perhaps received more attention by researchers in the past and numerous architectural texts published on the virtues of color, scale, proportion, rhythm, daylight, climatic, details, stylistic references, etc. Such characteristics in a built space are expertly illustrated in Jawahar Kala Kendra, Jaipur by Correa, where the experience of the space is moulded by architectural composition.(fig 1.25) 39

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2.Social activity The second aspect incorporates what happen within the space; a void created by volumes. The interactions between the people and the interaction between built and the users. As Geoffrey Scott says, ‘space as a void’ is a like canvas to let for users to inhabitant and feel connected to built environment so as to surroundings. The space carries non-physical factors affecting emotional responses... for lack of better term. “social activity.” As aspect of the space we can say ‘function.’ This category includes subtler factors of privacy, the sense of security, personal space territorial behaviour that affect the perceptions of the environment quality of comfort. The physical an psychological need for privacy, personal space territory is universal and contributed to the meeting of other human needs. Which extends towards security, affiliation and esteem, The form in which the need is expressed and achieved however, are manifested very differently in different time and context. Such social-activity is very evident result from the regional aspect of the space. Along with the design process, there is also the processes human undergo in understanding our environments. (fig 1.26) 3.Context The third and the foremost category is now losing its values, since contemporary practise has shifted their focus from regional to more experimental design process The context carries the socio-cultural, environmental, associative aspect. Their patterns in the space with the given context, can be a way one can follow empathetic designed space. (fig 1.24) In order to be meaningful, sense cues must be embedded in the context that we recognize from our stored experience. A cue is what we are focusing on, while the context is what influences our interpretation of a cue . Human being demonstrate a very wide variety of contextual possible contextual interpretations for similar stimuli.

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SOCIAL ACTIVITY as Functional Model

CONTEXT as Regional Model

SPATIAL CHARACTERISTICS as Phenomenological model

Character

Context

Function

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Fig 1.26 is developed from the three spatial unit of Geoffrey Scott and further co relating to develop a model

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Fig 1.27

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Fig 1.28

Fig 1.29

1.2.2 Interpreting FUNCTIONAL MODEL : ALVAR ALTO Aalto manifested functionalist aspect to his spaces to aim at redefining functionalism by sensitising the design.

His design was about the amalgamation of poetics and functional characteristics to bring new functional mode to build humane spaces.

PHENOMENOLOGICAL MODEL: PETER ZUMTHOR Zumthor belived in building atmospheres which are most habitable for user and by its spatial characteriscs it leave the impression by the values it hold. He talked about architecture through senses, and what we feel by the texture, colour, form, and formation. His architecture is all about the poetic quality a the space holds by the use to material.

REGIONAL MODE: TADAO ANDO Tadao Ando has developed his vocabulary of architectural principles with impressive translation of cultural philosophy to his built environments. He describes himself as an autodidact who drew his inspiration from tradition and travels around the world. As a result, he arrived at an architecture of continuity and refinement, whose quality of design is virtually unsurpassed.

The Converging Point to Aalto, since in his work the amalgamation of all three model is found by very specific humanist approach.

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ALVAR AALTO: THE HUMANIST establishing Aalto as an humanitarian

2.1 Establishing ‘Aalto’ 2.1.1 Aalto’s Concepts and Ideologies 2.1.2 Organic as ‘humane’ 2.2 Two Major Cases: ‘Nature And Natural’ 2.2.1 Case 1: ‘Nature’ As True To Environment 2.2.2 Case 2: ‘Natural’ As True To Humans

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Fig 2.1 Aalto at the studio, centered in work.

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2.1 Establishing ‘Aalto’

WHY ALVAR AALTO?

Aalto’s work is about the duality between aesthetics and function. In his later buildings, is the clear contrast of elements that seems to be free and naturalistic (the head) and rigid rationality (the tail). Aalto’s this arbitrary taste of having violent contrasts between freedom and resistant made him an rationalist, so as spiritualist.

His idea of humanitarian architecture derived through a more humanistic approach towards rationalism, Aalto’s ability to “dare the leap from the rational-functional to the irrational –organic” did illustrate a new possibility in modern architecture. His approach to bring modernity and tradition, on one canvas, in a period when there is widespread rejection of the past’ Aalto moved forward with the history. Henceforth, Aalto has been considered as distinct modernist, a one who was a humanist.

Humanist = rationalist + spiritualist

“Architecture can not save the world, but it may serve as a good example.” These memorable words, describing Aalto’s body of architectural work, May be worth contemplating as we are now in new century, living behind the humanism.

Hence, Aalto being the humanist, a study has been taken further to understand humane aspect through his genre of work.

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We may say that there is always human error in architecture, and on close observation we find that this is necessary, since it is impossible to express the richness of life and its positive qualities without such error.�

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2.1.1

Aalto’s concepts and ideologies

In the years immediately following world war II, with which of Europe in ruins and American technological prowess triumphat, architects, critics and historians fervently debated what proper role monumentality, history, technology and human values would play in postwar rebuilding. Architects and city planners were expected to provide architectural expressions for a world desperately in need for a humane aesthetic, and modern architecture that would restore dignity to a world.

This sections allows one to draw the evident architectural ethos which may tend to lead towards explaining ‘humane’. Hence, the larger concepts that he follows are as below: CRITICAL RATIONALIST Rationalist was perceived as coldness ‘inhuman’. Hence Aalto re-looked rationalism through the lens of humanism.

Alvar Aalto, aware of the coldness transmitted by rationalist architecture, believed that: “As soon as we include psychological requirements or, rather, as soon as we are able to include them, we will have extended the rationalist working method enough to make it easier to prevent inhuman results” (Aalto 1940:91).

Aalto sought to redefine the concept of rationalism to allow for a more humane design. In a lecture titled “ rationalism and Man” he stated: 49

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We have admitted… that objects that can rightly be called rational often suffer from flagrant inhumanity…Thus we might say that one way to produce a more humane built environment is to extend our definition of rationalism.

Aalto set out to do exactly what he deliberated on: to extend the idea of rationalism into a psychological, physiological and organic direction. (fig 2.5 and fig 2.2) Subconscious and intuitive process as another rational.

This subconscious promoted him to sketch the sundry organic structures, fan-shaped leaves and rock formations.

FINNISH INFERENCES “Architecture is not merely national but clearly has local ties in that it is rooted in the earth. “ Consequently, conflict disappears, now that forms must always be in tune with their time, regardless of the fact that meaning might belong to other periods (fig 2.8)

AALTO’S PLAYFUL ELEMENTS There is a strong element of play and enjoyment in Aalto’s inventively classic works, and the playfulness emerges in his work after the Vipuri city library design. (fig 2.6) Is also seen in the canopy forms he design (fig 2.10) Play elements in Aalto’s design complemented the unbalance formula between form and function in architecture by covering humanitarian and psychological aspects.

MAN-NATURE RELATIONSHIP Eventually Aalto’s spaces converge, when two living entities man and nature converse. And His architecture mediates man and nature. Such relationship can be seen, directly as symbolic expression or indirectly as metaphoric perception.

The spaces, shapes, textures, and materials evoked images of landscape and idyllic settings of nature. (fig 2.2 , and Fig 2.9) His simultaneous aspiration to fuse architecture with the surrounding park and to introduce images of rustic origins-could hardly be made more clear.

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Fig 2 .11 diagram describing architecture and nature relationship

“Our buildings should not merely meet one or two aesthetic norms; they should be placed in the landscape in a natural way, in harmony with its general contours” (Aalto 1925:21).

FUNCTIONAL APPROACH “True architecture exists only where man stands in the center.” Aalto believed to design forms around the human need hence, man was always considered to be a model.

This way he departed from the mainstream of modernism.

He elaborated by his functionalist positions “instead of form-based interiors design, which starts exclusively from forms and then attempts to serve the practical purpose to the extent permitted by this constraint, the functionalist method starts out from the real demands of life and then creates forms to suit needs.”

His approach to function varies from site to door handle scale. (fig 2.3, 2.4) Aalto himself still maintains that: “We cannot create new form where there is no new content” (Aalto 1928:62)

Fig 2 .12 space articulation inspired from nature

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Fig 2 .13 diagram describing, finish-land and pine forests as inspirational model to create organic structure.

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Fig 2 .14 diagram describing, taken verticality as facade expression from the pine forest context around. It also shows how formation of plans are done organically .

2.1.2 Aalto’s organic structure

“I would like to add as my personal, emotional view that architecture and its details are in some way all part of biology” _Aalto Why there is need to understand Aalto’s organic structure?

After decoding Aalto’s design concepts and ideologies, one can say that his work was truly a synthesis of organic relationship between man, nature and buildings.

Which works as a source of characteristics in his spaces.

A language which speaks within his organic structure and organic aesthetics. The way he treated ‘nature and man’ in the spaces he designed, it can be considered as the ‘organic expression.’ Hence, Can ‘humane’ be looked through the word ‘organic’?

What does the organic mean in architecture? Does is it mean the sense of existing naturally, the relationship to biology, or as small aspect; a response to ecology, the humanism through the connection of architecture and organisms, or the quality of being authentic?

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I remember the instructive conversation I had about the same concept with B.V doshi, on one such evening, sitting in the verandah of his house, having a coffee and sharing words.

“How would you describe ‘humane’ in your projects, or generally what the term ‘ humane’ means to you?”(Author)

“When you are not wild, you are humane? or if you start shouting you are not humane? or if you are very polite and very nice, then you are humane? What is humane in general life? Or if this soft, will that be humane? (While touching the arm of the very minimal metal chair, he is sitting on.)Tell me... (Doshi)

Something which comes organically, from within...like if I answer your question that shouting or being wild is not humane, that way I feel its part of us, its the vulnerability we are showing, its in a ways part of emotion, then i wouldn’t call it not humane, since it comes with us naturally. Hence if i have to say what is humane, it would be ‘the sense of existing organically.’

(Author) When the space allows to let the two living entities, converse, exist organically and the relationship of man-nature can be much greater, then it lead us to ‘humane’.

(Author)”

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Fig 2 .15 recollecting the memory of visiting kamla house, the connection to nature and to man leading to organic way of building to achieve ‘humaneness’.

Here the word organic refers to his two major design concepts. One- ‘nature as true to the environment’ and second- ‘natural as true to human’, around which the aesthetics developed as ‘organic language.’

As Aalto’s ‘organic line’ by the use of regional and natural materials, became a model for generations of modern architects. He continues to be regarded today as a nature-oriented romantic among the modernists, as a master builder rooted in Finland’s wild natural landscapes who rid modern architecture of it sharp corners and edges. Yet, Aalto’s interpretation is too short-sighted, as his spaces aren’t just as a stylistic expression, but as a scheme of complex ecospheres in which compositions, light, surfaces, acoustics and climatic conditions collude and interact with the same implicit ease found in the nature. The expression which is also drawn from user physical and psychological need, is very evident in his design process so as in the outcome of the space. Hence, his spaces one hand be the metaphor of ‘nature’ and the other hand be a metaphor of ‘human’.

Here, the organic architecture, draws upon ‘the organic nature of life.’

Fig 2 .16. showing organic aesthetics; built and surrounding merging being one whole ‘organic entity’

“Organic architecture has usually been characterized as responsive to the specifics of site, climate, available technologies, and to the function of the building. It also uses as form determinants the social and psychological needs of those its structures are to serve. More difficult to apprehend, organic architecture draws upon the organic nature of life, represented above all by human sentience, emotion, and the purposes, as these qualities manifest themselves in individual lives, The reflection of the life are perhaps the least developed topics of organic architecture “ (by Greene, Herb in the introduction of Mind and image: an essay on art and architecture.)

Hence , the work will be emphasized on the sense of being organic to achieve the quality of ‘humanness.’

Thus, it will be demystified into two major cases from the design concepts Aalto.

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Fig 2 .17 showing sun deck of the Paimio Sanatorium, The form and onnection of the builtaallow built to breather within natural surrounding.

Case 1 : true to nature

Fig 2.18 showing sun deck of the Paimio Sanatorium. Patients taking sun bath therapy and along with socialising. Such sensitivity towards the psychological need, let the built be lively.

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Case 2 : True to human

2.2 Two major cases: nature and natural

The chapter is a summarisation of chosen two major cases from the work of Aalto’s design concepts. It describes the organic and hence ‘humane’.

From the all conceptual aspects and ideologies of Alto, it appears to us that; to describe humaneness of the space ,a most appropriate way to do is to let the living entities converse organically with the built environment. When the space leads to the supreme experiences of being natural to us, the feeling persist within us, holds deeper values.

Organic = Nature + Human = Humane One as true to nature and one as true to human, hence ‘humane’; a model of new phase of architecture.

Thus to understand Aalto and his way of dealing with both cases, was envisioned to see humane through his ‘humanism and materialism.’

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2.2.1 CASE 1: ‘NATURE’ AS TRUE TO ENVIRONMENT

Bertanlanffy defines an organism as hierarchy of parts and processes, interwoven and over-lapping so that the organism constantly gives to and receives from the outside world as nature.”

Man develops his relationship with architecture by the understanding of the environment he has lived through from a very primitive phase. As the ancient man’s relation to nature was centred on nature; Cosmo-centric. The world; the macro-cosmos was seen as an entity organised in accordance with the laws by which also man; the micro-cosmos operated.

Fig 2.19 Case 1 : True to nature

Buildings were seen as a metaphor for the divine architecture of cosmos.

When source of inspiration to create a built environment and needful object , was only nature, the relationship of shelter and surrounding was much stronger. Slowly coming to a modern era, the distance between built environment and nature appears to be far away. Though contemporary architecture have brought us too far ahead by improving our lives through technological developments but it also come along with the reverse side: man often feels homeless in the environment created by modern technology and aesthetics.

Therefore, a return to humane architecture is needed and hence study will be further taken to find humane in work of Aalto by demystifying case 1, where spaces are nature driven.

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2.2.3 CASE 2: ‘NATURAL’ AS TRUE TO HUMAN

“Experience, according to John Dewey, is “a product of continuous and cumulative interaction of the organic self and the world.

A dwelling is only a dwelling, not when it has a certain form… but only and exclusively when people come to live in it. The igloo is as much the dwelling of the eskimo as the bamboo hut is that of the Javanese. The notion “dwelling” is entirely subjective and is certainly not related to any particular form.” N.J Habraken ,Supports.

Fig 2.20 Case 2 : True to human

The designer can recognize the significant features of the user’s experience and respond to them with the designed forms of architecture. Human become a model himself around which the experiences are crafted sensitively, considering to add features which responds to their physical, psychological, socio-cultural and so as individual need.

True architecture exists only where man stands in the center.

-Alvar Aalto

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DEMYSTIFYING CASE: 1 Understanding nature-architecture relationship and setting the mode of inquiry

3.1 Aalto’s Nature 31.1 Nature And Tectonic Forms 3.2 ‘Nature’ In Architecture 3.2.1 ’10 Concepts Of ‘Nature And Architecture’ 3.2.2 Nature As Source Of Beauty 3.3 Beauty’ In Acrhitecture 3.3.1 Vitruvian principles: Firmitas, Utilitas And Venustas 3.3.2 The Mode Of Inquiry: A. Beauty As Structure B Beauty As Expression C. Beauty As Function 3.4 Exemplifying Case 1 : Villa Maria

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When asked to Alto, What he think a city should be like, He replied, “You should not be able to go from home to work without passing through a forest.”

Fig 3.0 finish forest land

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The forest remains strong in the national consciousness, informing almost every aspect of life, including architecture. Alvar Aalto’s attitude toward building in the landscape remained remarkably constant throughout his long years of professional practice. when the qualities of the site seemed to suggest a particular architectonic direction, Aalto usually emphasized the run of the landscape-outside the building, inside or both.

Alvar alto’s own feeling for the nature was equally the product of the finish countryside, his upbringing and education in the early twentieth century, and his conscious search for an architecture set between humanism and materialism.’ by Marc Treib on Alto’s nature .

3.1 Aalto’s Nature’

“I would like to add as my personal, emotional view that architecture and its details are in some way all part of biology” _Aalto Architecture is intimately tied with the qualities of natural location. However, when we take nature as inspiration to translate into design , we often have to consider subtle aspect to let the interpretations be unseen while experiencing the built. Aalto had this ability to introduce man about the dynamics of nature and built as subtly as possible. Such subtle impacts then help to enhance our spatial experiences. The forms, the play of levels, organic aesthetics, tectonic forms taken from natural geometry, it being user driven (natural as true to humans) The spaces, shapes, textures, and materials evoked images of landscape and idyllic settings of nature.

The reversed imagery of bringing outdoors as a motif to indoors, can be called that his design appear like a ‘natural metaphor’ He hated rules and regulations and started talking about natural balance between the individual and the community.

In 1926 in his article, “From Doorstep to Living Room”, Aalto states that: “(…) but it is best achieved by correct placement of the hall in relation to the rooms, the yard and the garden. All this, however, should be done with caution” (A. Aalto 1926:54), as is the case with Kinkomaa.

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Here the hall, a square, hypo-style building, is the central nucleus of the sanatorium which arranges all its component parts.

Garden-interiors relationship The boundaries between nature and artificiality doesn’t exist but they become a cohesion by blurring that boundary between the interior-exterior.

Aalto’s multi layered oeuvre encompassing architecture, translates into the forms inspired by nature. His aesthetics is fascinatingly interwoven with the environment.

Nature thus served as a blueprint while also providing strategic legitimacy for a particular creative stance and a humanistic world view whose aim was to preserve individuality in a high-tech society.

Alto created a harmonious, symphonic, the organic whole It given rise to lively spaces that radiate warmth; to subtle choreographies of light that provide unobtrusive orientation; to unexpected vistas linking inside and outside; and most importantly, to a sense of identity inspired by the integrated presence of art and culture. Such spaces inevitably turn a kind of “second nature” for their users.

By Alvar Aalto-second nature by Jochen Eisenbrand His architecture can called as ‘natural metaphor’ since, it tried to recreate the nature through the tectonic forms and formation. The translation of it as form language is as follows,

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Fig 3.1 Form language of Alto

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All the figures above explaining the metaphoric perception of a conceptual form languges in the work of Aalto.

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Fig 3.8 Showing what Ikka Niiniluoto refers to the three-level world view

3.2 ‘Nature’ in architecture

ESTABLISHING NATURE For us as designers, the biological and Darwinian world views seem natural. Ikka Niiniluoto refers to the three-level Popperian world view as emergent materialism.

X. Nature as a material reality represents the first level (fig 3.8 ) Y. While human and animal consciousness, developed through evolution, represents the second level, (fig 3.8 ) Z.The third level comprises the man-made world, including such cultural activities as languages and architecture. (fig 3.8 ) Each level is based on the previous one, yet each level effects the other by its own existence.

Such levels describing why we tend to recreate nature in form of architecture, how x y and z co relate with each other to develop an organic relationship. The more the connection between these 3 levels is strong the more it tend to create ‘humane’ environments.

This topic is collection of theories so as observations trails to narrow down the lens about a very ambiguous subject as ‘nature-architecture’.

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3.2.1 10 concepts of ‘nature and architecture’

As Adrian Forty, in Words and buildings, A Vocabulary of modern Architecture book; explains nature in 10 major concepts which as follows, 1. Nature as the source of beauty in architecture.

2.The Origin of architecture; The primitiveness 3.The Valorization of nature; ‘Mimesis, or the imitation of nature.

4.Nature invoked to justify artistic licence.

5. As a political idea: nature as freedom, Lack to constraint.

6. ‘Nature’ as a construct of the viewer’s perception.

7. Art as ‘a second nature.’

8. Nature as antidote to ‘culture.’

9.The rejection of nature.

10. Environmenatalism: nature as ecosystem, and the critique of capitalism.

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Fig 3.9 Showing the form, formation and texture, by scaling down each time.

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3.2.2 ‘Nature’ as source of beauty

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What is needed most in architecture today is the very thing that is most needed in life - INTEGRITY. Just as it is in a human being, so integrity is the deepest quality in a building... If we succeed, we will have done a great service to our moral nature- the psyche of our democratic society... Stand up for integrity in your building and you stand for integrity not only in the life of those who did the building but socially a reciprocal relationship is inevitable.”

-Frank Lioyd Wright, in 1954.

‘NATURE’ as an integral image Integrity is the state of being complete, a state of wholeness and soundness- and the best example of integrity that we experience every single day is ‘NATURE’. Nature never looks forced; its elements never seem to be out of place. All the forces among the various parts seem to be resolved. There seems to be in an equilibrium- static of dynamic. Nature has the quality that we would refer to as ‘organic’. This organic wholeness is the manifestation of an underlying order.

We are product of nature and composed of everything natural. We still share the DNA with our hunter & gatherer ancestors, our brains are wired to enjoy green grass, fresh air and clean water. We still look forward to connect with 71

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the natural surrounding by the its integrity that makes a built environment feel more alive. We as human, can feel aroused by only such living entities around us wither it is nature or human being. Hence if building try to be as ‘humane’ as us or as ‘natural’ as nature, then in totality architecture seem a part of earth and not an align, trying to function according to human ‘wants’ then ‘needs’.

‘The way nature has integrated within us and we are integrated within our setting is an obvious, yet in a profound statement if we are able tor fathom it in entirety. ‘ We are in constant dialogue and interaction with the environment, to the degree that it is impossible to detach the image of the self from its spatial and situational existence.

“A Constant exchange takes place between organism and environments and these are so intimately bound up with each other that our conceptual discriminations serve only heuristic purposes and often mislead us. for instance, we readily speak of an interaction of person and object of person or place, but the term interaction presupposes an initial division that is then bridged. Yet in the most basic sense of existence, there is no separation but rather a fusion of things usually throught of as discrete entities, such body and consciousness, culture and organism, inner thought and external world. Therefore we may understood the setting of human life as iteration of person her on his environment.”

-Arnold Berleant

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As we pass by a wayside “Champa” tree with its majestic form and its blossoming white flowers, it attracts us. (fig 3.9) Held by it we gratefully accept its perfect beauty. But if one tries to find out the secret behind this texture and the foliage beneath it. We see that there is a close relationship between the form of flower and the system with which, leaves are arranged on the stalk.

From this we are led on to observe a characteristic habit of growth and discover a resultant pattern of structure.

Structure as we now observe proceeds from general to the particulars arriving at the blossoms that attract us, saying subtly within its lines and form, the nature of structure that bore it.

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Though it is difficult to prove that beauty is the result of a combination of certain number of elements that are organized in such and such way, the basic fact is clear that all that which appeals to our instinct as beautiful, does not ignore basic elements of law and order. Its is quite clear that no lasting beauty ever ignores them. They are the ever-present elements at the actual conditions of the existence of beauty. Similarly from the study of forms, or styles which mankind has considered beautiful we see that those that retain to appeal are the ones that are able to fulfil these basic conditions.

All attempts to say what life is would be foolish, but we can at least try and learn from these manifest truths of form and formation how the form is related to function, traits of materials that determine the character, and try to use them as basic principles of good building.

We ourselves are the products of such a natural law.

FORM FORMATION TEXTURE

Fig 3.10an Such

everyday captivating feeling nature holds, it led us to see, how nature is being the source beauty for our built environments? Thus such an observation trail would be taken forward through the understanding of nature as integral image and it being an aesthetical inspiration to carve out spaces. The study will find try to find its connections of form, formation and texture in the dimensions of architecture. Through these, how do we see beauty in the built environment around us?

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Firmness

Firmitas

‘concinnitas’ Utilitas

Commodity

Venustas

Delight

Fig 3.11 Explaining Alberti’s idea of ‘coninnitas’; the cohesion, the wholeness of the space, expressing beauty.

‘Beauty’ as ‘Wholeness ‘

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3.3 ‘Beauty’ in architecture

“Neither in the whole body not in its parts does the concinnstas flourish as much as it does in nature herself…

Everything that Nature produces is regulated by the law of concinnitas.. let us conclude that Beauty is a form of sympathy and consonance of the parts within a body, according to define number, outline and position as dictated by concinnitas, the absolute and fundamental rule in nature.

Alberti outlines his theory of concinnistas, the principle of harmony that underlies the graceful arrangement of parts in relation to each other and to whole, that the significance of nature emerges as the model for architecture. ‘concinnitas’ means ‘concinnity’ a harmony or congruity of the various parts of a building assembled according to principles Connistas might suggests that beauty in architecture extend its meaning, from visuals to more towards the sense of ‘wholeness’, the integrity, harmony, fitness. When the built carries such a aspect more then just being aesthetical, is when the ‘beauty’ transcends within us and hence ‘humane’.

To describe the extended meaning of ‘beauty’ through concinnistas, the need of discussing fundamental architectural principle araised. Such principles as firmitas, utilitas, venustas establishes the architecture as whole through concinnity and it extends the sense of beauty within the harmonious spaces, which can led to ‘humane’ spaces.

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Fig 3.12 Explaining the Architecture as the cohesion, the wholeness of Firmitas, Utilitas and Venustas.

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Fig 3.13 Explaining Vitruvan principle in gothic architecture.

3.3.1 Vitruvian principle

Since, Aalto looked at architecture in its most primitive form. As he was considered to be a modernist who tried to solve architecture’s primary concerns from a most rooted end. His architecture ceaselessly reminds us of the fundamental relationship between architecture and man, which eventually becomes associated with nature.

Hence, a need to look at architecture through its most fundamental principles arised.

As ‘Beauty’ is defined earlier as the way it tend to be direct, seen, tangible element as well as in-direct, unseen, intangible element. Such a way to regard ‘beauty in architecture by looking its material and non-material aspect. Thus, to extend its meaning this Vitruvian principle have been taken, to understand ‘beauty’ as ‘concinnitas’, the wholeness, cohesion. of fundamental values having perfect fitness. Theory; The most essential components of architectural values are Firmitas, Utillitas and Venustas.

One should focus on three central themes when preparing a design for a building in its ‘wholeness’ (concinnitas)

FIRMITAS; as Firmness, the structural integrity, durability, stability, the art of construction, VENUSTAS; as delight, experimental enjoyment, artistry, aesthetical beauty UTILITAS; as commodity, the purpose, Functional adequacy, usefulness, satisfies programmatic requirements,

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These three principles explain new vistas of ‘beauty’ further, to set a mode of inquiry.

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Firmitas Beauty as ‘Structure’ the mode of inquiry

Beauty as ‘Function’ Utilitas

Beauty as ‘Expression’ Venustas

Fig 3.14 setting meaning for firmtas, utilitas snd venustas to extend the meaning of beauty by the cohesion of ‘structure, function, expression.’

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3.3.2 the mode of inquiry The study is to introduce concepts through nature, that could be used to characterise spatial structures and the way humans inhabit their environments.

Firmtas, Venustas and Utilitas are respectively, Beauty as Structure, Beauty as Expression, Beauty as Function

BEAUTY AS STRUCTURE Structure here describes as the spatial structure, the way spaces are layered, by the hierarchy and order of the components of the spaces, their inter relationship, their composition and configuration according to environment and living patterns, the response to topography, the arrangement of masses so as spaces, structural geometry, structure behind the construction. Largely it can be said that the building is seen as system rather. And hence the system influences the way inhabitant experiences the space. It adds to the richness of the experiences apart from the visual expression and merely a function, which two are categorised here as ‘Beauty as expression’ and ‘Beauty as function’. Hence this articulation of organically built structure can be one of the way to create humane experiences, thus to understand that the lens of ‘Beauty as Structure’ is taken as one of the mode of inquiry.

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BEAUTY AS EXPRESSION The expression of architecture consists into adapting a form to function. And the expression which comes from within. The translation might come from truly the way we perceive the forms, the way they emotionally drive us, they way they merely fulfil our function, all that represent a function and its expression. So as another way to look at the expression is through the structure which is influenced by analogies of nature, and the expression again lead us human emotional and psychological need, hence to function and function again further connects with form and expressions emerge from within. Such as a design cycle contains higher humane values. Hence a study in the following section will look at ‘beauty as expression’ by merging both other mode of inquiry ‘beauty as structure’ and ‘beauty as function’. Yet it will try to move further then spatial structure to a more narrow niche through tectonic form expression, expression of certain geometry or composition, form- material expression, form-light expression, material-light expression and also when all 3 come together.

BEAUTY AS FUNCTION For design to achieve the quality of humane, it must truly address to human concerns, the need they demand from the designed environment or the designed object. For such need the universal man must be relooked at with distinct categories through the lens of ‘human need’. Such categories, which includes all human being specific need which suggests physical, psychological and emotional needs to wholestic cultural, contextual, region specific needs to very focused individual needs, which can be best described as ‘human nature.’ The section will be more detailed out in further in chapter 4.

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Fig 3.15 The chart explaining what each means as their extended meaning, it allowas to set structure for the case study.

Thus such a strctures then tries to look for the the different possibilites for going about doing a case study. Hence, further there are 4 ways sturcture has been demystified., which as follows, 81

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CASE 1

CASE 2

established in ch 4.2

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Fig 3.16 The chart explaining what each means as their extended meaning, it allowas to set structure for the case study.

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established in fig 1.26

Fig 3.17 The chart explaining what each means as their extended meaning, it allowas to set structure for the case study.

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Fig 3.18 The chart explaining what each means as their extended meaning, it allowas to set structure for the case study.

4.

Fig 3.19 The chart explaining what each means as their extended meaning, it allowas to set structure for the case study.

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3.4 case study 1: villa mairea Noormarkku ,Pori, Finland, built in 1938-39 Designed by: Alvar Aalto

CRITERIA: This study has been taken, since Villa Mairea was considered to be an architectural blueprint where the relationships between exterior and interior, organic-geometrical, rational-emotional , functional - experiential was strongly translated. It can be seen as rich architecture model where nature was taken as source of aesthetics to bring ‘humane values’ to the space.

It began to understand Aalto’s design process for constructing space to analysis of non-material and materialistic beauty of the house. Since, Villa Mairea was appropriate fit to analyse case 1 to see how humane can be looked through the ‘nature driven design process.

SCOPE AND LIMITATION: More than architectural articulation this study would be more focused towards how the ‘humane values’ have be translated through ‘organic aesthetics’.

The lens to look at Villa Mairea is through translation of “beauty” and it being a constant, Beauty as Structure, Beauty as expression, Beauty as function will become a mode of inquiry.

The case study has been done through off site, observations and the recollections of data was found through available literature.

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3.4.1 INTENT

Considering the built years of Villa Mairea ,the society demanded a newness with utmost sensibility towards the way architecture was created. that the vision was to create a social utopia through his design language.

The idea of creating a cohesion, responding to environment around so as human beings.

Client’s desired to give concrete architectural form to the world, to create a sample of future in order to dazzle and convince their fellow beings? It was more of an experimental house to bring up changes in society to make them understand the cohesion and so as humanness through its characteristics.

“We told him that he should regard it as an experimental house; if it didn’t work out we wouldn’t blame him.”

Fig 3.20 Intial sketches of Villa Mairea done an architect house.

Fig 3.21explaining the similar composition of volumes from falling water

A model demonstrating new generation’s idea of the good life that the rising standard of living would soon bring to everyone. With conceptualising as organic modernism.

INSPIRATION FROM FLW: The first figure (fig 3.1) is a composition made up of geometric planes of different sizes joined together, which is in many ways reminiscent of Frank Lloyd wright’s house falling water. It being an inspiration struck him. Hence, Aalto’s mission was to build a house as expressive of nature as the one in bear run, Pennsylvania, and he succeeded.

The masses and inter connectivity, the horizontality, the contextual positions all being a first design positions, were taken from the design process of what FLW followed while designing Falling water. In many deeper ways the resemblance has been found much stringer.

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Fig 3. 22 the horizontal composition of falling water as conceptual for Villa Mariea. It sets as organic model while designing the house.

AESTHETIC APPROACH : As Aalto’s works progressed, the duality between aesthetic and function began to become clearer. In the Villa Mairea we see a logical orthogonal plan treated with elements of pure aesthetic delight. The plan is completely liberated at the swimming pond, which has the kidney shape again. This playful element, contrasted with more linear form, also carried a symbolic reference about the nature of the architect. The pond is meant to be the primordial element; early mankind dominated by nature.

As the house leans to more functional/orthogonal realms the progression of man’s history in regard to his ability to control nature is manifested aesthetically. Aalto also used the idea of the egg and the full-grown being when talking about this metaphor. The interesting and consistent thing about Aalto’s buildings in his later work, is this clear contrast of an element that seems to be free and naturalistic (the head) set against and element of rigid rationality (the tail).

Fig 3. 23 showing the outer envelop of the built, by the way form differs, material exploration, the scale an proportions, thresholds, opening, tectonic forms, Masses and voids , structural expression.

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3.4.2 BACKGROUND INFORMATION

Familly livng room

Marie’s studio

Marie’s bedroom

Harry’s bedrrom upper terrace

Children quarter

Guest quarter

Fig 3. 24 Showing the location of spaces, and connections to ouside

Living room

Music room

Dining room

Garden room

Kitchen Loggia Dinning

Library Entrance porch

Entrance

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Fig 3. 25 Showing the location of spaces, and connections to ouside

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Servant’s room

Fig 3. 26 ground floor plan

Fig 3. 27 firsr floor plan

Fig 3. 28 section aa’

Fig 3. 29 front elevation

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3.4.3 THE MODE OF INQUIRY

CASE 1

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Fig,3. 49 explaining the focus of the study, where case 1 only the structural and expression have been traced out. Case 1 being the lens of case-study.

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3.4.4 BEAUTY AS STRUCTURE:

As mentioned in mode of inquiry chapter 3.3.2 Structure here describes as the spatial structure, the way spaces are layered, by the hierarchy and order of the components of the spaces, their inter relationship, their composition and configuration according to environment and living patterns, the response to topography, the arrangement of masses so as spaces, structural geometry, structure behind the construction. Largely it can be said that the building is seen as system rather. And hence the system influences the way inhabitant experiences the space. It adds to the richness of the experiences apart from the visual expression and merely a function, which two are categorised here as ‘Beauty as expression’ and ‘Beauty as function’. Hence this articulation of organically built structure can be one of the way to create humane experiences, thus to understand that the lens of ‘Beauty as Structure’ is taken as one of the mode of inquiry.

1 2 3 4 5

From the work of Aalto, Villa Mairea being the evident example of organic structure, thus it is taken as primary case study to analysis how the component of spaces are articulated and ‘ structure’ is seen as tool to add aesthetical values.

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1.TOPOGRAPHICAL STRUCTURE: Response to topography being one of the major driving force in the design process of Aalto, thus the in-direct aesthetics around structure emerges within such as organic structure.

Site Fig 3.50 site location

Fig 3.51 site mapping

In Villa Mairea, topographical structure can be seen as the response to ridge on the site. Since the building is surrounded by the pine forest of north-east of old Noormarkku, Finland (fig 3.50). It is along the north-south directions so that oasis-like garden with pool, sauna and havulinna can be opened up to west.

The site plan as shown in Fig 3.51 the large room space (built) , based on the module grid of building, which is calculated by 2850x2850 mm. The grid is taken as module for main geometry of the building, as the response from outward to inward. the grid keeps reducing in the similar pattern. Here the topographical structure underlines the essence of expression from the site point of view..

The ridge contour

Fig 3.52 contour mapping, highlighting ridge

To establish a ridge, approximate contour lines have been extrapolated from the spot levels, shown in fig 3.50 and Fig 3.51, 3.52) and Around the basic calculative ridge analysis the highest and lowest point might have been taken to decide that the highest corner of the contours occupied dining room and living room, fireplace, garden room, porch and Terrance. Where as the curved forms of the two elements one being the pool and other as overhead canopies, seems to mimic the ridge couture.

Ridge as ground geometry

Fig 3.53 placement of the spaces according to ridge

The Villa Mairea has a variation of movement from free flow to a formal, which have been derived from the geometry of the ground surfaces. Through various ground levels (contour) and the transition from outdoor to indoor and within indoor can be seen as a mimesis of the topography and developing a rich organic structure. Aalto’s such a deign sensibility add to the humane value of the space through, how occupants of this place are going to move around organically. This topic would be further detailed out in section. (fig 3.53)

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Diverse ridge structure

There are many ways to look at topography response for the project as whole, but as we look at the condition of site as it is, ‘the ridge’ being the main pivoting point, along which diverse relations has been found Aalto archive drawings suggest the ridge was a major design factor for Villa Mairea. Axies behind the ridge structure develops diverse structures as,, a. Along the ridge b. Across the ridge a. Along the ridge The levelled land being a platform establishes three fundamental relationships among the parts of the terrain, which is parallel to existing ridge: Enclosure, Extension and Exposure . This three along each other share a significant relationship which carries following properties.

Enclosure: The excavation, being the shelter, associated with the materiality of earth, is an in-warded mass, a withdrawal spaces, indicating private domain and the level of privacy, suggesting intimacy and inclusion. (fig 3.54) Extension: The levelled land, being the horizontal extension, associated with the earth horizon, is a platform to view, and can act as a spill over space , demands social gathering, allow a free flow movement, is a mediator between the site- scape and the built room. (fig 3.54) Exposure: The elevation, is the outlook of the site associated with aerial, which connects to outside world, which already exist, is the living entity it self. fig 3.54)

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Fig 3.54 Relationship along ridge

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Fig 3.55 Corelating 3.54 to villa mariea planning

b. Across the ridge

Fig 3.56 Relationship across ridge

Fig 3.57 Corelating 3.56 to villa mariea planning

The levelled land being the platform establishes two fundamental relationships among the parts of the terrain , which is across; perpendicular to existing ridge. The diverse relationships between layers are based upon topographical situation of the ridge, as both the place where the south-eastern and north-western hillsides meet and the place where they separate as each faces away from the other.

These two main layers are, One: comprises the masses, hence the spaces created within are arranged at the edge of the open land; levelled land (courtyard). Which includes most of public and semi-public spaces, called as communal spaces- dining room, living room, music room, playroom, library, garden room, family hall and studio. They are covered and semi-covered, in-warded, and internal in nature.

Second: comprises the spaces which are arranged at the edge of swimming pool, which includes sauna, deck, outdoor dining, fireplace, loggia and terrace.

They are open and semi-open, out-warded and more external in nature.

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2.SPATIAL STRUCTURE If we continue to say, about how the ridge structure is persisting into the spatial structure and how space layering is happening, following observations can be made.

Enclosure, extension and exposure (interiors) ON GROUND FLOOR Case -1(according to activity) The first space in each ensemble-Outdoor dining room , connected with Havulinna and loggia, sauna is distinguished by the qualities of enclosure. Since, its focused open private activities and consisting intimate and focused gathering. The spatial layers of loggia is driven by the characters of coloums which suggest the slow withdrawal towards courtyard. (fig 3.58) This enclosure is associated with its earth material evoking the strong material aesthetics, which will be discussed in ‘beauty as expression’ topic.

Fig 3.58

The second space, is each sequence manifest the extension from the enclosure, the horizontal continuity, called as the levelled land. This ensemble the living room, music room, indoor dining room and to some degree even courtyard. Since it incorporates many diverse activities such as social gatherings or for family daily activities, even as part of movement since it is a main access route.

Such interaction and spill-over space, acts as mediator between the first private type spaces and complete outdoors. (fig 3.58) The third space, is the exposure from the horizontal levelled land. Here, the courtyard and rest of the site around is a complete withdrawal from the indoors. Which becomes a platform to over view, to be by the surroundings.

Fig 3.59

Case-2 (according to site) If the first space and second space interchange, considering the site condition. The spatial structure can be seen as more rigid interiors of living room clusters, to partial semi-covered spaces around loggia and then slowly merges to third space as site itself. This shows a gradual withdrawal in to the nature. (fig 3.59) ON FIRST FLOOR Spatial structure on first floor works as above mentioned CASE , which suggests that the spatial layering is seen from private spaces as bedrooms, studios to spill over spaces as family room, and access routes to spaces which provides outlook in form of terraces, and balconies. (fig 3.60) 100

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Fig 3.60

Inclusive structure

The ridge structure constinues to suggest a co-spatial structure of the project as whole. According to patterns of living and site, it integrates co-spatiality as a individual structure within parts of the building. It can be said as there are multiple co-spatial structure which suggest how the inclusion and exclusion is treated within the spatial structure. When one becomes an anchoring point while other parts be subtle structure. This diversity of structure allows to ensembles multiple settings and suggests the sensibility towards human and ecological circumstances.

This leads to the ‘flexible structure’ of the space.

As seen in fig 3.61, When one becomes the core of the setting how other spaces revolve around. How some structure come forward and other recede, to set a background According to ever-changing events, how the flow of movement happen within.

However, This structure establishes an ambience of generosity, which is linked to the idea of organic structure so as to the enriching the ‘humane experiences’.

Public domain

Circulation

Living room and house front

Sauna and backyard

living room-Music room-library

Ground open court Living room Dining room Sauna floor-indoor Fig. 3.61 illustrations secondary layer of spatial structure, showing what becomes a centre according the patterns of site and living of the house.

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Spatial hierarchy

As the inclusive structure suggests that the hierarchy of spaces changes by the setting of events of the site so as living patterns. Yet there is some level of rigid hierarchy which can be evidently seen. This might have came from various reasons like topography, environmental response so as functions.

Aalto believed to have asymmetrical grid which comes down to understand hierarchy as free-flow form of the order of the spaces. As seen in fig 3.62 and fig 3.63 there are five levels of spatial hierarchy , setting the degree from most public to private, communal individual most in-warded to the most out-warded. These categories have been distinguished in five levels., as follows‌ On ground floor, As we depart from foyer to the living room, being the most communal space becomes the the first level. Further its seen as a withdrawal from the living room to the passage beside staircase being the small open gallery merging into the dining room and to other side to music room which is considered to be in-warded and so as out-warded according to treatment of the edge. This becomes a second level. The third level, includes more private function, one as reading in library other as being by the site and by own self in the cocoon called as garden room. Moving further from the communal cluster, entering into the fourth level, which is the most private part, ensembles sauna, pool and loggia, is at the other side of the building. The fifth level is the left out, denoted as service block. (fig 3.62)

Fig 3.62

On first floor , As mentioned the hierarchy on ground floor, it also goes same for the first floor, The first level as family gathering space, to the circulation area denotes as second level. The third level is the private domain, including all bedrooms and a studio. Forth level is terrace and balconies, is an expansion of private domain to withdraw in surroundings. The fifth level is here a cluster for guests, which is the least used part,and at the end side of the buiding, hence considered to be last.

(3.63)

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Fig 3.63

3. FREE FLOW SECTIONS Free flow sections, free flow open space, is a term for spatial compositions that address flow and continuity, among all the three axes of the spaces. It includes the study of air, light, people (movement) and vision.

Solar and Wind exposure The ridge structure also continues to say that, the two separation of hill side suggests Villa Mairea’s solar and wind flow.

Fig 3.64

The principle wing of the ground floor, where the music room, library and garden room enjoys good amount of day light, since in the southern corner it has the optimum solar exposure and wind flow. In the same corner, on the first floor The family bedrooms receives good desirable before noon sun, while largely 8 months of the year cold wind is flowing. (Fig 3.64 , 3.65)

Fig 3.65

Since the site is south-eastern hillside the house blocks the main external space by allowing private spaces to enjoy sun and control the flow of cold air flow. So the rest of the part of house as open lower ground can be shielded by a solid southern corner. And the opposite northern corner is kept open to let it merge in the depth of forest.

Facing out over the courtyard, the living room, dining room, the studio, and the terrace above is having an afternoon evening sun. The grassy landscapes, courtyard, the swimming pool, which faces the complete evening sun, to enhance the experience of such a private domain. (an evening coffee, by the landscapes, while sun is about to set) The morning sun peeped through the service block and make that part of the space more active during morning, when it need cease out for the same.

Fig 3.66 showing free flow movement

Such a way, the treatment of light and air as result of ‘environmental structure’ to create free-flow sections can lead to the peculiar flow of movement so as to ultimate enrichment of ‘humane experiences.

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Movement: the idea of threshold As the ridge continues to influence the way thresholds have been treated, it all a certain kind of a free flow movement. So as we see, the ground surface at the entrance slowly emerges from the landscape to allow the organic entry. This threshold, slowly make us distinct ourselves from the outside world. Further, the steps repeating a contour lines, becomes a most ‘isovist’ (fig 3.68, 3,69) point from where larger part of the house and surroundings are visible, and our physical and perceptual movement can be speeded at the same time allowing the sense of inwardness. Moving ahead the edge of the house being the another threshold house portray how Allto has decided not changing the level between inside and outside. This threshold of an envelope is subtle detail of how house response to surrounding, as if it the part of nature more than an interior. There are small step differences as another level of threshold, to the library and garden room as It slowly shifts from communal spaces to more private spaces. To the extreme another corner of the house, where the contours dip down and return back to nature, and descend down the slope. (fig 3.67) Fig 3.67

“threshold being the blurring line between indoor and outdoor, is an aesthetic pleasure.”

Vision: the idea of openness There is a spatial continuity between the communal spaces and the degree of openness decrease as it moves towards the private domain. Certain points of the spaces suggest the wider vision of interiors as well as exteriors.

Aalto constantly tried to open plan system to increase the horizon of the vision. This zones in the plan are according to ridge structure and hence and impact of isovist. (fig 3.68, 3,69)

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Fig 3.68

Fig 3.69

4. STRUCTURAL GEOMETRY The spatial layering sets one layer of organic geometry which is mentioned in spatial structure topic, at the same time there can be several other layers to define the structure geometry. One being the paradoxical form-geometry and other can be structural grid as the geometry it self. The structure of Villa Mairea, where Aalto believed that ‘the chaos of nature was an aesthetic truth, and carried tradition way of regionalising by respecting the surrounded forest hill.’

As Karelian architecture traditionally have L shape structure and rest are part of landscape. Mainly the structure system is in to two parts, one being the heavy load bearing masonry walls and frame structure in between to maintains the visual permeability on the lower floor. It is also suggesting the hierarchy of material, as how Aalto used heavy, grounded mass as the edge to and as it opened up in the centre and at the courtyard edge, it becomes floating and airy.(fig 3.70 and3.71)

Fig 3.70

The structural grid of both the system Is very asymmetrical, columns don’t follow the module grid rather they are breaking the rhythmic order (fig 3.72). Since the columns here is mimesis of forest outside, to make it look like the house is emerging from a trees. Hence this Aalto’s nature is here to incorporate irregularity in nature as a way to achieve richness of humane experiences.

Fig 3.72 Fig 3.71

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5. FORM-FORMATION

As part of structure, the way ‘form’ responds to create a particular formation and influence the way we perceive and feel about space, become an in-direct element of to enrich experience of the space.

Two paradoxical geometry (form) Major two types of geometry can be found. One is formal, and more rectangular and another is more organic and curvy. Where formal consists the orthogonal plan, treated with elements of delight. It accommodates communal spaces, as the form suggests. But it departs from the rigid forms and as soon as it opens towards outdoors to three organically shaped elements, the swimming pool, the entrance canopy and the studio canopy. it liberates from the usual orthogonal plan to free form yard which seems to mimic the counter lines of the site. This playful forms contrasted with more linear form of communal and functional domain, can be seen as the way nature is manifested aesthetically here. As it seems translate what Aalto says, (Ifg 3.73 nd fig 3.74) Aalto remarked that, The serpentine; the free forms of nature were seen as symbols of human freedom. He continue to say that,

Fig 3.73

Such curving, living, unpredictable line which runs in dimensions unknown to mathematics is for me the incarnation of everything that forms a contrast to the modern world between brutal mechanicalness and religious beauty in life.

Head-Tail (formation) If we look at Aalto’s work widely it seems that he formed his spaces around the reference to human body, as if it is a mimesis of ourselves. The head, which will be the core of the space (communal) rest of the body as the spaces (private) which flows around and merges in the outside world (fig xx). The formation of spaces can also be seen as HEAD-TAIL. The very interesting and evident element in Aalto’s buildings are this contrast among free, naturalistic elements can be called as ‘head; and rigid rationality as ‘tail’. (.Fig 3.5)

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Fig 3.74

Fig 3.75

Fig 3.77

Fig 3.76 Fig 3.78

Metaphorically, the head and tail can be seen as the symbol of freedom and resistant. Aalto says his conception about same is like, ‘idea of the egg and the full-grown being.

Fig 3.79

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3..4. 5 BEAUTY AS EXPRESSION As mentioned in mode of inquiry chapter xyz, The expression of architecture consists into adapting a form to function. And the expression which comes from within. The translation might come from truly the way we perceive the forms, the way they emotionally drive us, they way they merely fulfil our function, all that represent a function and its expression. So as another way to look at the expression is through the structure which is influenced by analogies of nature, and the expression again lead us human emotional and psychological need, hence to function and function again further connects with form and expressions emerge from within. Such as a design cycle contains higher humane values. Hence a study in the following section will look at ‘beauty as expression’ by merging both other mode of inquiry ‘beauty as structure’ and ‘beauty as function’. Yet it will try to move further then spatial structure to a more narrow niche through tectonic form expression, expression of certain geometry or composition, form- material expression, form-light expression, material-light expression and also when all 3 come together.

In Villa Mariea since its considered to be an epitome of organic expression, the level of study would be further taken into more interior-architectural scale.

More towards wall-ceiling, wall-wall, wall-column, ceiling-column, floor- column expression. It would be talked through taking more elemental scale and its impression of the expression our mind. The relations are however establishing a sequence of study, to go part to whole. Though these relations from part to whole and whole to part, can not be defined clearly.

It is in the and cohesion of all three mode of inquiry which builds up ‘aesthetical values’ so as ‘humane values’.

The chart explains what comes under ‘Beauty as expression’ as layers of inquiry, which will be looked at through the configuration of elements of the space.

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Fig 3.80 verticality of the facade

Fig 3.81 horizontality of the facade

Fig 3.82 verticality of the facade

COMPOSITION : The idea of horizontality and verticality.

Fig 3.83 showing the pine forest feels

Aalto is inclined towards picturesque compositions, which allows to bring a balance of horizontal and vertical lines. The form of horizontal building in a vertical landscape, tries to create a balance if seen from outside and from the inside the exaggeration of the horizontality is then balances by vertical columns and linearity on the wall panels. (fig3. 80 and 3.81 3.82) FORM LANGUAGE FIRE PLACE

Fig 3.84

As continuing the idea of how alto took inspiration from nature to derive his forms, the fire place random organic curve expresses the ‘softness’ towards the edge. (fig 3.84) LANDSCAPE WALL Such of a form aspiration has been taken in as part of interiors. The curved wall being the mediator platform, so as direct the movement and incorporate informal gallery, evokes a striking expression. The light around and objects placed, all add to that single image. (fig 3.85)

Fig 3.85

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TECTONIC EXPRESSION In aalto’s work nature has been taken as a tectonic forms. Its expression evokes through the, element expression, form language, materiality and scale-proportion of the same.

ELEMENT-EXPRESSION Columns The Villa Mariea south-west wing structure is supported by a grid of columns.

The columns are articulated in several configurations.

They are placed either individually or in a group of 2,3 or 4. This grouping and the direction of placing is an intentional approach since Aalto wanted to break symmetry an rhythm and direct movement through the clusters (fig 3.86) This array of columns around the entry and staircase, are expressing ‘a second forest’. It is recreating of evening phenomena, when sunlight pass through the majestic pine tress and cast shadows, same feeling it evokes through staircase. (Fig 3.86)

Fig 3.86

Column-form ‘movement’ Why circular? To metaphorically suggest the tree trunk ? To avoid the rigid modernist approach of straight lines ? To allow softness in movement?

Column-Material ‘balance’ The columns have been ornamented with different materials: metal or wood, Black and White Paint, Rattan wrapped horizontally around single and double columns and Birch strips fixed horizontally onto columns.

Fig 3.87

Column-wall ‘weightlessness’ As a way of tectonic expression the colomn is always free form the wall , by creating a gap both are having their own identity to evoke the expression by play of light and shadow.

Column-floor/roof ‘separation’ Slightly up-lifted to keep a clean junction, material a bend of strip, which is differed, is evoke detailed expression. On the roof some where it merges and an branch out like a tree.

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Fig 3.88

Fig 3.89 Library partition tectonic

Fig 3..90 inspiration from verticality of pine forest

LIBRARY PARTITION The tectonic expression here of panel and ceiling again re create evening sunset phenomenon in forest. Since the panels have been kept movable according to library function and gaps in between allows light to pass through, get an indirect light during the day. Such light and material expression is ‘beauty as expression’ A forest light shines through the undulating screen that forms the wall between the bookcase partitions of the library and the ceiling to further imitate the experience of being outdoors. Upon exiting out of the front door, one is submerged in a row of these columns, which are placed specifically by Aalto to emphasize the continuity found between the environment of both inside the villa and out. (fig 3.89)

Fig 3..91 sketch showing the expression of library partition

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Fig 3.92 organic aesthetics through the material palate

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Fig 3.93 organic aesthetics through the material palate

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MATERIAL EXPRESSION: Alvar Aalto has set a sample for organic aesthetics through the way he has translated raw materials in Villa Mairea. He looks at the house as part of the forest hence the materials and the way they are articulated are recreation of the surroundings. The expression of columns to stone masonry wall to free formed wooden canopy, to a non-material aspect of the space. (fig 3.91) The distribution of the material are according the spatial structure of the space, how spaces are flowing towards courtyard and towards private spaces, the material is accordingly moving from natural to more false. The use of material and the way they transcend within us, appears as if it took its traces from Japanese aesthetics. The aspects of Wabi -Sabi let the buildin g be the ‘natural metaphor’ and so as it creates humane through timeless experiences.

3.4.6 RECOLLECTION OF DATA

From the analysis it seems that the Formation of Villa Mariea was truly a recreation of natural Phenomena. As if jt is Metaphor of the forest.

The organic way of building here let the space be part of site itself. It blurs the boundary between inside and outside.

Small details of interiors being wither the irregular grid of column, or un-identical expression of column, or the random formations of it around the staircase, or the tectonics of library partition and way light and textures play their role, or the use of material and their proportion are all a subtle gestures to creating organic aesthetics. The details is where beauty lies between modernity and organic.

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DEMYSTIFYING CASE: 2 Understanding user-architecture relationship and setting the mode of inquiry

4.1 Human need 4.1.1 Shashi Caan’s synthesis: The sphere and triangle of human need 4.1.2 The Mode Of Inquiry: C. Beauty as Function 4.2 Exemplifying Case 2 : Paimio Sanatorium

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CASE 2

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Fig 4.1 The chart explaining what each means as their extended meaning, it allows to set a mode of inquiry for the study.

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4.1 human need

As case 2 the chapter establishes a mode of inquiry for ‘ beauty as function’ category.

Why there is a need to understand such a section as ‘human need’? when primitively design suppose to be ‘for human’, and it is taken as a by default principle? Why to address the essential?

Since the exciting design criteria do not sufficiently address them, Hence what demands is to attempt to identify, describe and exemplify through different practices. In the modern contemporary practices, often the essential is ignored and over powered by the experimental design that it may not cease out the need for it but it surely lack at its ‘humane values’.

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SPHERE OF NEED

TRIANGLE OF NEED

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FIG. 4.2 Sphere and triangle of human needs. The factors that the sensitive designer must address reflect three layers of understanding of the human being, all of which must be considered at the same time for design to be successful.

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The section is a summarisation of what Shashi Caan describes as ‘the human innate need’ being the tool to create humane environments. It is redrafted the essential of design practice to address the essentials being the basic human needs as measures of man.

Key words: Humam concerns, human nature, Innate need Why there is a need to understand such a section as ‘human need’? when primitively design suppose to be ‘for human’, and it is taken as a by default principle? Why to address the essential?

Since the exciting design criteria do not sufficiently address them, Hence what demands is to attempt to identify, describe and exemplify through different practices. In the modern contemporary practices, often the essential is ignored and over powered by the experimental design that it may not cease out the need for it but it surely lack at its ‘humane values’.

For design to achieve the quality of humane, it must truly address to human concerns, the need they demand from the designed environment or the designed object. For such need the universal man must be relooked at with distinct categories through the lens of ‘human need’. Such categories, which includes all human being specific need which suggests physical, psychological and emotional needs to wholes-tic cultural, contextual, region specific needs to very focused individual needs, which can be best described as ‘human nature.’

Reacting against the scientifically oriented philosophies of literary realism and naturalism, New Humanists refused to accept deterministic views of human nature. They argued that: (1) human beings are unique among nature’s creatures; (2) the essence of experience is fundamentally moral and ethical; and (3) the human will, although subject to genetic laws and shaped by the environment, is essentially free.

With these points of contention, the New Humanists—Paul Elmer More, Irving Babbitt, Such concentric layers of circles represent the layers of needs , it moves from micro body part need to a comprehensive understanding of the world around, the immaterial measures of human needs.

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COMMON TO ALL HUMAN BEINGS As Shashi Caan said, this innate needs suggests, “the search for shelter. Our primal instinct for survival allowed the human species to survive, evolve, and flourish. Such a need for safety is never far from the animal psyche and was one of the prime reasons man created shelter. From a design point of view, providing safety means making an environment that protects us from harm” When we look at a relationship of two living entities, one as human and another as nature, the human feel over powered by nature, it gives a diminutive feeling and hence a need to be protected against it, where the world is brought to our scale, such an environment which provides ‘safety and comfort.’

Though the ides of safety and comfort is transient by the passing time. It is now considered more towards the in depth psychological need layers.

The human search for survival includes the physical and aesthetical values, by the nature of contrast in physical environment. How is the experience tend to be in fabric shelter like a tent or a stone covered shelter like a fort.

The material being one of the tool to add to create such qualitative expression, we should look at such layers as design student.

The sphere and triangle of human need, describing three layers of understanding of human being and the sensitivity they look forward to in an environment. (diagram) Safety as, Having a peace of mind, a sense of confidence while allowing people perform their activities, where you feel a sense of withdrawal, allows people to relax and free from worry… moving towards achieving ‘comfort’

Comfort as, Though comfort exist in grey since it can be specific to individual experience so as at a universal level. It describes the person feels as well an common physical fac-

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tors which induce a quality of ‘being comfortable’ “However, the gap between mere survival and an existence that is pleasurable is the space where comfort lies” There is two spectrum where comfort lies, one being through satisfactory physical conditions, like lighting, acoustics, temperature and second being through material qualities, the color, texture, and scale-proportions,-combined can be perceived as comfort. We may know that light not merely a necessity but an emotional trigger if sensitively used, keeping viewers psychological need in mind. Like how Matharoo used it as an embellishment in his spaces.

To identify comfort, we need to recognize what makes it uncomfortable, including a very peculiar intangible aspect of design.

Apart from obvious functional requirements, habitability and thus comfort depends upon qualities that cannot be enumerated in checklist fashion.

“When experienced, comfort allows someone, almost subconsciously, to be at ease, to naturally be themselves.

Regardless of the period, style, scale, or complexity of a design, this is one of the basic qualities that must be captured.”

In order to flourish, rather than merely survive, mankind needs more ease and leisure.

CULTURALLY SPECIFIC NEED, Among the range of human needs that lie between those common and human nature specific individual needs.

Comfort is one of the human needs which exists in the gray zone between the universal and the individual specific need.

Comfort As Like all elements of design, comfort has both an internal meaning-as experinced by a person and an external, readable measure. The first meaning describes how a person feels and material well-being, with freedom from pain and trouble, satisfaction of bodily needs; The condition of being comfortable, The second describes the physical factors that allow for existence of this state. This 121

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dual notion of comfort says that we should comprehend first to create second. However the gap between mere survival and an existence that is pleasurable is the space where comfort lies. We may know that light not simply a necessity is also an emotional trigger and that silent spaces evoke better human behaviour,.

We can began assemble a positive definition of comfort by starting with the basic idea of habitability. “Buildings are made to be lived in and only in as mush as they are convenient can they be habitable”

INDIVIDUAL NEEDS, Privacy as, At an individual level, such common needs as ‘safety and comfort’ led us to feel more free in a built environment.

And that is followed by the sense of privacy. To be able to do certain private activities more freely. It is called ‘to be beyond a deeply embedded human need’, rather more cultural. We, now not realise the point from where we have reached through. Such a slow change of our built environments, from common family living of pol house to now private apartment system, this describes how our psychological need for ‘privacy’ has been changed over the time. How the sense of freedom and privacy have now been considered as an essential criterion to design any environment?

“Privacy in interiors and design, then, is the ability to identify oneself as an individual within the context of the wider environment. It is as much an experiential measure as a spatial one.”

At the same time privacy can not be confined to domestic realm, it is also an intangible feeling which we tend to feel in a private realm. How certain public places tend to make us offer us a private place while being out there in open, the environment address to individual needs.

Through my observations I often wonder about how parks being public space is now addressing to privacy, how people escape from their busy world to feel inward while they visit parks, how one can be by themselves sitting

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on park bench? May be it is some what to do with the relationship we share with nature so as the way they are articulated to make it comfortable space to be alone, undisturbed.

I remember architect Aniket Bhagwat explaining the changing meaning of public realm, over the time. He explained public spaces through the measure of privacy and freedom. For him sidewalks, footpaths are now looked as public spaces, reason being of course for the cause they were meeting wither it is hanging out to lost in conversations or food being the reason. But apart from that it also explained through the intangible feeling of privacy which shaped public environments.

Walter Benjamin described the idea of privacy as an experience: “For the private individual the private environment represents the universe.” “we know that the successful fulfillment of privacy allows the individual to perform optimally in any setting, private or public, where he or she can sense their position in relation to the wider sea of humanity.”

Hence, Privacy here can be understood by travelling into the mind- an immaterial space- a nonliteral place for retreat- or a physical environment designed to aid introspection. As with qualitative criteria of safety and security, comfort, privacy and freedom, we can only understand it by the experiencing the absence in any form.

Can such tangible so as intangible measures be a tool to bring ‘aesthetic values’ in design process? . . ..

This layers of human need become a very fundamental aspect for humanizing spaces by addressing ‘human’.

They become a further mode of inquiry as Case 2 to open up a new horizon of the study .

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4.2 case study 2: paimio sanatorium Paimio, Finland, Built in 1929 designed by : Alvar Aalto

CRITERIA: This study has been taken since Paimio Santorium was considered to be an ‘architectural blueprint’ for the evoking aesthetical translation of human need.

It addressed the evidence-based practice to bring out such empathetic expression and hence it become another part here to understand how human, emotional, psychological, and physical need are transcended into ‘humane experiences.’

The strong selection towards this was also considering to have one private built case study and another public, to study how such sensitive yet rational practice is been executed and been occupied by larger body of people.

SCOPE AND LIMITATION: More than architectural articulation this study would be taken forward to look from the outcome as how function; human need adds to the aesthetic values.

Here, It locates the study from ‘beauty as function’ point of view, while ‘beauty as structure’ and ‘beauty as expression’ set back and be silent part of the inquiry.

The case study has been done through off site, observations and the recollections of data was found through available literature.

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4.2.1 INTENT

Nested in pine forest, in the southern land of finland, around the outskirts of Turku city, is the Paimio Sanatorium. Developed in an competition around 1929, was a new way of looking at hospital architecture. Lately, there had been a renewed interest, which can be seen in the relationship between building and health. There were on going discussion about how architect should respond to patient’s emotions and psychological need to make them heal the diseases and feel positive for the environment.

Paimio was designed like a ‘medical devise” in the totality of the design, with every discrete detail freshly designed for the comfort of its patients, exemplifies his “humanising” through Functionalism

Fig 4.3 Early sketch considering sunlight exposure

The Sanatorium, clearly has a very human approach, typical of Aalto’s architecture that goes beyond the technical capabilities and that is mostly felt in the detail of its elements. His approach towards designing a sanatorium was a close collaboration among doctors, and architects, along with artists, who all worked in same direction of ‘heal the sick’. A good example of this interaction between the building and medical art.

The building served exclusively as until the early 1960s, when it was converted into a general hospital. Today the building is part of the Turku University Hospital. Though, After 2014 the sanatorium have not been functioning as a hospital, the Mannerheim league for child welfare’s rehabilitation fund for children and the youth has operated in the premises.

The Paimio Tuberculosis Sanatorium is a complete work of art conceived in a singular inspired atmosphere, and it deserves to be called “heroic” as much as any other architectural masterwork of the twentieth century.

Why Paimio as humane spaces?

Since, it follows under the case 2 talking about ‘humane through functional aesthetics, Paimio was selected among all the work of Aalto, though functionalism is very evident in Aalto’s all the projects. The list of reasoning for the selection of the Paimio as follows:

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Fig 4.2 blocks respect to site

The Paimio Sanatorium designed according to the principles of functionalism. The foremost purpose of the building and its decor was to help the tuberculosis patients to recover.

Since Aalto considered ‘human’ as model around which Paimio was designed.

The search ,’That architecture and design can bring the good life,’ How Aalto approached at different scale in the project: the patient room and site.?

Its fine interior design solutions through ‘user driven’ design principles.

The study helps us to understand why certain system was developed further than another- and how differently modernism came to be expressed in paimio santorium. “how can architecture satisfy a psychological need”?

AESTHETICAL APPROCH Aalto’s buildings tend to display curvilinear, vegetal forms inspired from nature. Such elements bring then a quality of humanness through the way of functional aesthetics has been translated in the building to prevent, from being a cold and mundane.

Exterior aesthetic functionalism is expressed by the use of clean white walls as symbol to the banishment of ornament. As we go towards interiors, the aim of the project revolves around to have pure aesthetics emerged from human scale. Hence the obsession for the same, originated from the thought to achieve comfort and well- being of a patient. The role of functional aesthetics can be seen even at planning level of a room, as the placement of windows and bed was according to solar consideration.

The ceilings are painted to bring calmness and energy.

And list continues; Light fixtures to avoid glare, noiseless basins, easy to open door handles, rounded cabinets like coffins. Conversely, all of these designed elements, while achieving comfort, were ultimately dictated by aesthetics “Aalto did what many master architects do, and that is design with the total union of aesthetics and function in mind.“ 127

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4.2.2 BACKGROUND INFORMATION

Fig 4.3 blocks respect to site

Wing D heating plant

Wing B Reception, dining hall, library , workshop, operating theater,

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Fig 4.4 fucntional blocks arrangement in plan

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Wing C Staff’s Quarters Laundry room Kitchen

Wing A Patients rooms Nurses rooms

Fig 4.8 Patient’s room, corridor section

Fig 4.5 Wall plan; Ground floor

Fig 4.9 Patient;s room, along the window

Fig 4.6 Furniture plan; Ground floor

Fig 4.10 Patient;s room, along the window

Fig 4.7 Long Section

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4.2.3 THE MODE OF INQUIRY

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Fig,4.27 explaining the focus of the study, where case 1 only the structural and expression have been traced out. Case 1 being the lens of case-study.

4.2.4 BEAUTY AS FUNCTION

As described earlier, ‘functional aesthetic’ come along with the need which are physical, psychological and so as emotional. Such needs can be categorise under individual needs, social specific and common for all human beings.

If we look at the Paimio building from the lens of ‘the articulation of needs’ in the space, It appears that the building was designed around individual needs of a donor and so as common for all occupants of the sanatorium.

Functional organisation The functional value Paimio carried from very beginning process of design. They were isolated from the community to prevent the contagious disease from spreading. The fresh air of the pine forest was thought to ease the symptoms, and this is one of the reasons for the sanatorium’s somewhat remote location.

Fig 4.28 Zoning respect to site

An early example of this embraced duality of can be found at the Paimo Sanatorium. The functionalist aspects manifest themselves in the shape of the building, which is splayed by function into very distinct entities where the main connecting element between the wings is the entrance lobby and the main vertical circulation. (This dissected building was no doubt influenced by Duiker’s Sanatorium). Though this arrangement of blocks appears like and exploded pin wheel plans. Such that the locations of these separated blocks of the building are arranged according to solar considerations as well as creating adjacencies meant to be programmatic-ally logical as well as noise reductive.

Fig 4.29 Showing block arrangement, the angle according to light, wind and view

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The project starts from very morphological model, that of compact “ T shaped” floor plan, (fig 4.29) and then uses successive transformations which seek to provide the best possible solution to each part of the programme. This ends up defining an organic and irregular floor plan composition which moves away from the initial model which was what was followed by many modernists.

Such a distinct way to planning adds to humane value through functional aesthetics so as organic structure of the building.

The main building takes the form of a free composition of linked wings. Each serves a distinct function – an arrangement intended to minimise the spread of disease and disruption to patients – and is distinguished formally by its unique orientation, massing and fenestration. Aalto get maximum use of light and healing properties of the sun to facilitate rehabilitation of patients. So as it allows patients to liberate them selves while looking out to pine forest views from their windows.

In the early years the only known “cure” for tuberculosis was complete rest in an environment with clean air and sunshine. Thus on each floor of the building, at the end of the patient bedroom wing, were sunning balconies, where weak patients could be pulled out in their beds. Healthier patients could go and lie on the sun deck on the very top floor of the building. As the patients spent a long time—typically several years—in the sanatorium, there was a distinct community atmosphere among both staff and patients; something which Aalto had taken into account in his designs, with various communal facilities, a chapel, balconies, lounge areas as well as staff housing, and even specially laid out promenade routes through the surrounding forest landscape.

Such a way, functional organisation was a way to look at spatial structure from purly the translation of need into spaces. Though there are layers of categorised need and its response in the spaces. They are all superimposed one after another to come to point where it becomes ideal space for all the user group. Study will further 3 major categories from the biigest scale of user group to the smallest. Hence, the observations would be marked from all human beings specific, to socio-cultural specific to finally individual need as patients.

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Fig 4.30 connection of patients rooms to outside and to inside, towards corridor

Fig 4.31 sunlight exposure in dining hall., to let patients take sun therapy while having breakfast

1.ALL HUMAN BEINGS: OCCUPANTS PHYSICAL NEED

PSYCHOLOGICAL NEED Through the use of colour, Alto wanted to create a comfortable and humane atmosphere in the common areas of the hospital. Strong colours were intermittently used, such as yellow rubber flooring in the corridors and stairwell of the central wing, adding to the feeling of brightness and sunlight.

EMOTIONAL NEED Bad Health can lead us sometime to very devastating feeling as the disease spread in our head as well. Hence Remove to remove the sickness from the mind, to let Patients feel fresh and hopeful certain gestures have been done. The colour yellow is the sign of energy (fig 4.312) Apart from colour, the social gathering spaces also let them be happy with each other.

Fig 4.32 Yellow floor to bring energy and let freshness and happiness come along.

The Paimio Sanatorium – a long, curving building – is thought by many to be one of Aalto’s most significant designs of his early career. His plans for the sanatorium were guided by his idea that a building and its interior should complete its original function while incorporating a sense of warmth and humility.

2. SOCIAL-CULTURAL SPECIFIC: PATIENT AND STAFF The Paimio sanatorium was nationally known for it to bring new socio-cultural environment. As we look at the distinct way of designing, in the time it was planned, it brought up a new social change by bringing architecture and health as a concern in society.

The functional value paimio carried from very beginning process of design by carefully looking at social-cultural aspects. They were isolated from the community to prevent the contagious disease from spreading. The fresh air of the pine forest was thought to ease the symptoms, and this is one of the reasons for the sanatorium’s somewhat remote location.

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While we move from site to the zoning of the building, one of the core decision can be identified to let occupants socialize and enhance social experiences within the built environment. Paimio appears to have this, severity of the Germans, as the Soviets opened out their buildings, used pin-wheel plans and curves. Such plans seem to have junctures in between, wither a physical centre or the unseen one. The node which can be described through the common activities of the people. Where purpose creates such spaces or space allows to create a purpose. In paimo such pinwheel plan structure, is a way to respond social needs. Where the nodes of the structure becomes a place where people come with a common goal or a purpose, around which other blocks opened up, which includes private and semi private spaces. To bring integrity at planning stage, all this separate blocks are opened up and set on certain angle according to solar, wind and views as need of a patient, being the concern of a individual need.

Fig 4.33 Red showing the common circulation area, which connects the building

The placement of staircases, terraces, sun deck on each floor are planned with a purpose to let a visitor go through the building while they access it. Hence there are multiple nodes where people cross each other, and social environment can be brought to make the spaces livelier. Giving people places where the purpose emerges, this can lead to enrich social experiences. Dining hall, sundeck on the top, balconies on each floor, lounge areas are the example of such spaces which Aalto intended to have. Having such zones within the building, seems a sensitive translation of patient’s emotional needs. As we know, gathering, talking to people, sharing a smile all that matters to ‘heal a sick’. And Aalto laid out a canvas responding to such emotional need, and to let social events to occur. Hence, to understand the translation of social specific need in Paimio, one needs to go through the sensitivity alto had towards Individual need, since he made ‘Patient a model’ to design a whole building around.

Fig 4.33 Pin wheel arrangement, around the node.

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3. INDIVIDUAL NEED: PATIENT AND ROOM

Each patient room was planned for two people, with the architect keeping in mind the reclining patient as his primary inspiration. For Aalto, a peaceful environment was a prerequisite for the healing process, therefore rooms were designed to be as comfortable and quiet as possible.

Fig 4.35 Sun deck on the top for sun therapy

Fig 4.36 Noiseless basin

Fig 4.37 sketch for patients positions

Fig 4.38 Patients’ room; Plan

however, he focuses on the relationship between one single patient and his/her room, that is, the patient’s behavioral and psychological aspects within the existential space. The situation of the patient, as “a horizontal human being” who lies on a bed most of his/ her time “in the weakest possible condition “should be considered carefully, even in terms of colour, lighting, heating, noise, etc. Alto proposed and executed concrete devices for the room as follows: “ (fig 4.37)The ceiling should be darker, with an especially Selected colour suitable to be the only view of the reclining patient for weeks and weeks.

The artificial light cannot come from an ordinary ceiling fixture, but the principal center of light should be beyond the angle of vision of the patient. For the heating system in the experimental room, ceiling radiators were used but in a way which threw the heat mainly at the foot of the bed so that the head of the patient was outside the direct rays. The location of the windows and doors likewise took into account the patient’s position. To avoid noise, one wall in the room was sound absorbing, and wash basins (each patient in the two-patient rooms had his own) were especially designed so that the flow of water from the faucet hit the porcelain basin always at a very small angle and worked noiselessly.”(fig 4.36) While rationalists would consider this detailed plan for one single room to be excessive, it was crucial to Aalto, who wanted to think truly reasonably. He ensured that the technical strategies would sensitively serve the patients’ emotional requirements

Fig 4.39 Patients’ room;section

Fig 4.40 Patients’ room;section

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5.

DRAWING A PARALLEL :With Gurjeet Singh Matharoo.

Merging Case 1 + Case 2

5.1 The Mode Of Inquiry: Case-1 and Case-2 5.2 Exemplifying: Prathma blood centre

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CASE 1

CASE 2

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Fig 3.16 The chart explaining what each means as their extended meaning, it allowas to set structure for the case study.

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5.1 the mode of inquiry case 1+ case 2

CRITERIA: The study required to do a cross check inquiry to see how the two cases are translated in different context by different architect. Hence by drawing a parallel, it appeared that Gurjeet Singh Mathraoo followed both the concept in his practice.

Thus, the inquiry is set by partially looking at both of them by doing on site case study.

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5.2 case study 3: prathama blood donation centre

CRITERIA: As we analysed case 1 in Villa Mariea where architecture was driven by nature, and case 2 in Paimio sanatorium where spaces were aimed to heal patients and their psychological needs where addressed. This selection of study being the case 3 where both the aspects come together. How does these aspects are addressed by different architect in different context?

The inquiry is to bring both the aspects in one and cross check how the ‘humane’ translates here? (section is more detailed further in the intent) SCOPE AND LIMITATION: Study only touch upon the part of case 1 and case 2 form the frame structure, hence its not in-depth study , but it is just to set a different perspective.

Only those aspects of the built environment are studied which are in donors and visitor’s reach and concerned.

Somewhere, inquiry sets limitation for it being a subjective opinion through own walk through experience in space,

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5.2.1 INTENT The Centre envisioned a place that revolutionise the act of donating blood voluntary so as it being Indian first blood donation centre, situated in an housing suburb.

Hence it was meant to be iconic, through enriched experience then simply the donation place. Thus, in an architect’s opinion, “it being a pioneering endeavour, the building had to be a new ‘type’, where the challenge was to make a service intensive medical entity into a playful, intuitive receptacle, by removing the repulsion associated with medical facilities and transforming it into an inviting public domain.”

The space was considered to be ‘a new model of awareness’ for healthy-well being, aiming to work for a good cause. Such a sensitive, impact programmatic aim was main driving force for a design approach as well. Such ethics, empathy, humanness can be found even in staff who are working there, in the patients who come to donate and so as in the built environment created to make difference into evoking experiences.

The building tried to attempt following concerns, Can architecture traverse the boundaries and become all encompassing ‘Design’? Can architecture become a catalyst in motives that are social? Can architecture be a low cost pursuit without having to appear so? Can architecture transform mere facilities into public institutions?

Such attempt to translate the concerns into built environment, have led an author to the selection of the project under the ‘humane architecture’, irrespective to its experimental architecture. It also some where set and counterpoint to the way so far ‘humane’ have been described.

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5.2.2 VISUAL WALK THROUGH

Fig 5.1

Fig 5.7

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5.2.3 BACKGROUND INFORMATION

Fig 5.8 First floor plan

Fig 5.9 section

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Fig 5.10 front elevation

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Fig 5.11 back elevation

Fig 5.12 second floor plan

Fig 5.13 third floor plan

Fig 5.14 section

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Fig, explaining the focus of the study, including both case 1 and case 2 together in one tending to briefly introduce the mode of inquiry.

5.2.5 EXPERIENCING BUILT ENVIRONMENT

Fig 5.15

Fig 5.16

The building seems iconic with an extra-ordinary façade, unlike near by residential neighbour hood. The way it is slowly revealing its entrance, seems like a purposeful design decision to let viewers first be impacted by its organic forms. This curved walls responding to natural geometry; finally leading to a narrow entrance. As you look around, before one steps into the space, one is driven by the landscape and fish pond at the left, it sets us curious to see the landscape from inside and keeps us wondering that what experience would it be like? With that curiosity we move towards foyer cum waiting area. It appears to be compressed volume trying to release in a four storey void. Though experience isn’t evoking the way exterior gives us expectation to be then an overwhelming feeling. I suppose the reason being, that the volume is liner and entry is from the center, dividing the liner space, it balances the experiences by the way we perceive the volume. It might have been emergent if the the point of entry was at the corner of the volume. The curved canopy of the entrance, throw us towards the huge volume of release and then guide us towards the reception directly. Here is a subtle gesture of how form-formation and movement are connected, and direct our movements.

How they become a tool to lift the experience, through circulations in a space, which eventually turn out to be one of the core to enrich ‘humane experience’.

As we move towards the desk, the reception then reveals a liner glass block at one side and the free flow of curved walls at another side. As if both contrasting volumes were trying to create an equilibrium. The curved front façade wall, from inside looks like the most recognised wall since all spaces over look to that courtyard volume, hence to courtyard wall. As Pallasma said, ‘Experience is like a collaged images we collect during the journey’ thus now the reception becomes point, which act as contemplation zone, since the building have unfolded its major parts so we try to go through the collected images and what they make us feel like. While I inquire and wait for receptionist’s reply, my eyes tends to move towards the archi tectonics, the junction of columns and slab, where 2 curved walls meet and the aperture created within, certain volumes jutting out as small entrances and like jarukhas. (balconies)

Fig 5.17

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We are promptly guided to towards left where the donors lounge is. Before entering there, as I look at right wing, the process of blood cleaning and staff working reveals through the glass cube. I see the architects purpose of wanting to keep a working block open to viewer, to have more faith in Prathama’s process. Such a material choice and articulation of the space also adds to ‘aesthetic values’ and hence to enhance ‘humane spaces.’

As we now move inside the donor’s lounge, the space seems enclosed and compressed, but there is a visual ease when we observe the little niches as apertures by the sofa sitting. The proportions are at level, for donors to sit and see through the cut outs, enjoy green mounts and fish pond while they are waiting. They are served tea and biscuits before and after the blood donation. In such a way they are taken utter care of donors at management level, so as a space which allows to be this empathetic towards donor. Such an approach by articulating spaces and dealing with thresholds sensitively; space tend to be humane to users.

The yellow aluminium glass door leading to donor’s room, is a most modest space of the building, since that is the main function for which donor come to this place. Hence it is designed most sensitively accordingly donor’s psychological needs, to make them trust the donation process.

The space allows them to withdraw outdoors and merge into landscape. Donor feel peaceful while they are gazing at scenery through the low height modest scale windows.

They are meant to get lost watching small fishes in the lily pond connected to donor’s room, to lose the track of time while blood is being collected. The water being the element of peace, it enhances the calming experience of donation space. Here strangers seem to bond because the way donors are treated by the environment and by the staff. They feel happy being the part of the such a good cause. As we try to exit the place, our eyes move in the space, the cladding in interiors and metal doors have been kept yellow to bring refreshing energy in the space. As we are again in the lounge, being curious to see what surprise is up there at the first floor. At landing of the first floor, we are again moved by the four storey void and curved courtyard wall. The punctures in the wall and slanted jut outs is a tectonic expression to bring light and let it render the beautiful majestic curved wall.

The punctures again allow us to connect to landscape, to blur the inside-outside boundary.

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Fig 5.18

Fig 5.19

Fig 5.20

Fig 5.21

Such a man-nature-architecture relationship seems very evident in this building, Thus, it being the strongest point to make a built environment humane.

Fig 5.22

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Fig 5.25

Fig 5.26

The moment we are on the landing; it becomes another space of a withdrawal from where spectator enjoy the view of a whole building as one whole image. At the left, spiral staircase seems wrapped up curvy folds; concealing the apertures, enhancing the expression of a staircase. As I look at the blue door, I was promptly moved to peep in. And there, the curve of the façade again reveals its beauty, with a small skylight at the edge of ceiling being the sensitive embellishment of this mini theatre space. The form of ceiling appear to make us visually move towards a skylight and eventually to set a feeling to connect up towards the sky.

Besides the spiral staircase, as we come out and enter into staff premises, the whole wing seems an open plan office, opening both the side through glass façade. The over looking feeling seem to make us aware about ‘the void’ again. As we pass through the wing, observing all cabinets in red, claddings are in yellow and doors being blue. As if this colours were a playful gesture, to let staff feel cheerful while working. As we try to find an exit door, we see at the end of the rectangular volume it again connects back to passages which includes, lifts, washrooms and spiral staircase. This becomes another point to look at building as whole once again from the other end. Another spiral staircase encompassed in a curved wall carrying the boldness, drag us towards going down.

While going down, there are small tectonic details which catches my attention. Where a slab have a little slit to see through, black metal railing curving organically, treads of staircase curving at the central pillar, soothing forms of treads from the down. Such details are little surprises for the viewer. We come down and again feel liberated while we withdraw ourselves to the central void.

At once we look at the building again, it make us feel humane by the way it is responded to donors and nature-natural light. While we recollect an experience of the space, there is some where also an impact of brutal-ism, stays with us. The forms , material expressions, proportions so as architectural details tend to make us connect with brutal inference. Does this set a counter point for the topic? Does this impactful feeling over-power the concept of humane established in this thesis?

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5.3.6 BEAUTY AS STRUCTURE

1. SPATIAL STRUCTURE As explained previously, structure is the way spaces are layered and configured. The hierarchy of functions set on a canvas, to guide our movement, wither through form or volume or functions. Prathama is having mainly 4 primary blocks, one as donor’s wing where there a check up clinic, donor’s lounge and room, second as work station, where there are offices, labs, storages incorporated, third as service block, which includes toilets and lift shafts, and fourth as central void.

The central void act as an ‘extension’, since it’s a point of a withdrawal from the rectangular work station wing.

As one release themselves from the foyer area, the four storey volume becomes the spill over space, for users to gather a common activity. It acts as a mediator while we transit from foyer cum waiting area to the functional wings. The void seem like a moment to pause and let visitor be aware about the building. This space also take care of bigger events and social activities for staff.

The impacted volumes around, which encompasses the void becomes ‘enclosure’, by its nature of function so as the articulation of the space. Such an closure carries sense of being cube within a cube. How the building itself is an enclosure, yet another separation of enclosure is being created to make other semi open spaces.

Still the architect have made sure to visually open up an enclosure, to let the inhabitant feel the grandness of a central volume every time their eyes move around.

The other side of cube also have ribbon windows to let the natural light come in so as to connect with outside world. Such an enclosure is a sense of shelter, having an aim of focused activity, dedicated to specific function.

The block have been kept other side of the entrance so that central ease by the curvilinear façade cant be disturbed by merely the busy functional block.

As we try to escape from the inside world of a built environment to let our selves set free in the outside realm, the landscape become an ‘exposure’. The space for an out look, to be by the site, by the greenery and a connected fishpond. From this point We become spectator to look at the building as a stage, a stage of dramatic curvy

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Fig 5.27

Fig 5.28

Fig 5.29

forms, light and shadows playing of the surfaces, revealing textures through out the day. ‘Exposure’ in Prathama is the garden it self, which sets and elevation, unlike ‘extension’ and ‘enclosure’ of the space.

These three are when strongly connected and articulated well to enrich the experience, then can be said the ‘humaneness’ of the spaces was achieved through spatial structure of the space.

Fig 5.30

2. FORM-FORMATION

“Rebellious, clean rectilinear Process and Support against the intuitive free curves of the Void” - Architect’s note

The paradoxic geometry of straight lines vs free curves is the distinct part of this building. The free flow of curves suggesting freedom of movement visually and physically.

The walls being the ‘lines’ in the space, contains power to make us feel vast, compressed, lighter, heavier. Here when the convex front façade wall make bigger volume in space to let us feel unbounded and more expanded.

At the same time the foyer area, curved ceiling make us feel compressed and then released. One can say that, from such a feeling through form-formation its geometry, its scale-proportions, and the materiality, can impact on the quality of ‘humaneness of the space’.

For the same, If we narrow down our lens to the details of the space, by the way curved walls are connected to each other, to slab, to columns, all these tectonic details can also led us to enhance the experience even more.

Thus, the inquiry lens would be further more zoomed in to understand the humane quality through ‘tectonic expression’.

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5.3.7 BEAUTY AS ‘EXPRESSION’

1.TECTONIC EXPRESSION “A paradox continues. Stoic, the brutal rough wood finish concrete against the finesse of glass & steel; Rebellious, clean rectilinear Process and Support against the intuitive free curves of the Void; opaque and intimidating composition of the exterior, enclosing its transparent intimate void within. A place where construction is the only embellishment, structure its expression, the process its only display, climate buffer its primary space, light is only rendering, this building stands manifested in its intrinsic nature within and an object rooted in nature without.”

-Architect’s note

Built form as “boldness and oneness” The form of the building, and its bold curves seems like an organic geometry taken from nature. It can be perceived as one art object trying to create an spectacle for a viewer. The curves tries to liberate us into the surrounding, To make it an object part of green mounts. To let the landscape and fish pond merge with the building, as if the building is floating. That is strong expression of being brutal yet being organic in its character.

Walls as “weightlessness and sensual” At certain junctions, for walls to seem lighter, they are kept free when they meet and hence the light expresses through this slits to render the concrete envelop. Such a structural detail becomes a mode of aesthetic expression. There have been many abrupt jut outs from the convex curved wall to let the light enter in and connect with the outside. Such tectonic expression add aesthetic values for viewer, where light and shadows play a dramatic role to let the material expresses its character, wither through texture, colour, or density. Since we as humans are tend to absorb such tactile expression and get sensitise by such details, they are prone to lift our experiences towards arousing and hence ‘humane.’

Column as “freeness”

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Columns have been kept partially attached to slabs; to highlight the structure separately and the glass envelop 154

have been kept as an infill. This separation is to let the structure seen as an independent, while in reality the tectonic has be articulated in such a way that it appears free. Such a characteristic express “weightlessness”.

This building carries brutal aesthetics by it characteristic, hence the expression of image through the experience seems bold and over powering. But it still manages to be humane by responding to natural light and landscape around, so as translating the donor’s need and along with the staff working their have been dealt with utmost care. Thus the study led us to focus on the functional aspect of the building

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5.3.8 BEAUTY AS ‘FUNCTION’

As described earlier, ‘functional aesthetic’ come along with the need which are physical, psychological and so as emotional. Such needs can be categorise under individual needs, social specific and common for all human beings.

If we look at the Prathama building from this lens of ‘the articulation of needs’ in the space, It appears that the building was designed around individual needs of a donor and so as common for all users of the centre.

INDIVIDUAL NEEDS The architect purposefully wanted a donor to feel more outward, connected to nature, while they are in the process of donating. The windows height were set according to donor’s cone of vision while they sitting on a chair for donating. Such threshold was to let donor’s get lost viewing the landscaping, staring at fish flowing the water.

As if the space allowed to let the two entities converse and build a strong relationship between man-nature.

Such a space which responded to donor’s psychological need to make them feel safe, comfortable, have a trust in the organisation, made their experiences of the place as ‘humane’.

SOCIAL NEEDS: While donors are waiting at the lounge area, there is paradoxical feeling, they are drawn to look out and enjoy the landscape and be by themselves as well the configuration of the space, allows strangers to bond, and feel empathetic. Hence they are focused outwardly as well as inwardly. Here, the impact of nature-architecture, also can be seen in the staff working at the place. They feel energetic to work as a team together for a good cause. Everyone internally be supportive, help the donor to feel comfortable. Such aim only can be achieved when space allows them to do so. With that belief in the aim of the centre they transcend the vibe into donors as well. Every donor is taken care of with utmost dignity, to let them feel comfortable, and to have a trust in the process of donating. That Is how such a space articulation

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allows to let donor and staff community work towards the good cause and enhances social experiences to bring a social change; hence the humanness speaks from within.

ALL HUMAN-BEING SPECIFIC: At the level of special structure, to expression of the space designed around function, all takes care of needs responding to to common human-being.

Physical need The spatial structure is responding to innate need of a user in terms of circulation, visual and physical movement, the area of accessibility, open-semi open and private spaces hierarchy. Which also connects to the activities a space can allow to perform, that led to the flexibility of the space which can be said as an inferences of responding to ‘physical need’.

Psychological need The building can be considered as the model for the translation of psychological need to space. Donors feel comfortable while donating because of what space allows and management is there. The cleanliness, hygiene, spacious, green environment, playful ambience allow them to be more psychological involved rather then just physical. As there are proven theories which says, ‘the colours play a psychological role’ Hence architect have chose to add playful foreground elements against brutal concrete back ground. Yellow on claddings and aluminium doors to bring refreshing energy, Blue on doors to let the donor feel clam, and red on cabinets for energetic effect. Apart from colours the forms of the built a strongest impact on mind. Straight lines cubes vs the organic curves, make us feel free and liberated.

Emotional need The response to physical and psychological need led us to the sense of emotional feeling. As the environment of Prathama makes user feel safe and comfortable, they tend to feel happy and satisfied. The staff working their also feel like dedicating whole life work for the organisation, feel connected to each other within the team as well with the space.

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Conclusion

CONCLUSION WHILE DEFINING THE TOPIC

THE IDEA OF ‘HUMANE’ (As established in chapter 1.1, 2.1) The word ‘humane’ having transient nature from the perspective of viewer to maker to user to any human being who is connected to a space, It often bring many layers to define the word in our field. Perhaps the study tries to define some meaning that, If the space allows to let the two living entities to converse, and set a strong relationship between man-nature, man-built environment within each other then it reaches to humanness.

‘Humane spaces’ can be one which are truly driven by nature and meticulously designed by considering human needs.

Nature + Human = Humane One as true to nature and one as true to human, hence ‘humane’; a model of new phase of architecture.

Humane through nature and need can set a ground for ‘humanizing’ The strong relationships between architecture and ecology lead us to ‘humane’ Space and environment Space and man Hence, man and environment

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‘The sense of existing organically’ can be said as ‘humane’ 159

As the study started with ‘humane experience’ and the values it hold, can we end some where that the roles of values while designing any object or space , can be seen as tool to ‘humanize spaces’?

THE IDEA OF ‘BEAUTY’ (As established in chapter 3.3 )

The study explains how the meaning of beauty is extended from visual approach to the ‘wholeness’ of the built environment. As the ‘concinnitas’ suggests, ‘concinnitas’ means ‘concinnity’ a harmony or congruity of the various parts of a building assembled according to principles Connistas might suggests that beauty in architecture extend its meaning, from visuals to more towards the sense of ‘wholeness’, the integrity, harmony, fitness. When the built carries such a aspect more then just being aesthetical, is when the ‘beauty’ transcends within us and hence making us aware about ‘humane’.

Humane aesthetics or for that matter any aesthetics emerge from the living beings, which have an ability to create living environments, and hold deeper values..

Beauty can be a non-material aspect of the space, hence ‘non-material humane quality of the space.

Material and non-material, Mortal and immortal, Physical non physical, direct ad in-direct Conscious and subconscious aspect of the space establishes aesthetics which can lead to humane qualities.

Beauty as structure- form and formation Beauty as function- function Beauty as expression- The characteristics through material, light, texture, colour (3.3.2) Form Function Material expression (intermediator)

UNIVERSAL ASPECT Nature means the way of existing, nature of habit, nature of need, nature of environment, nature as human, nature as atmosphere.

Space layering and configuration, becomes a collaged images and enhance our experiences

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“The movement between rooms is as important as the rooms themselves; and its arrangement has s much effect as social interaction in the rooms as the interior of the rooms.”

-Christopher Alexander In order to make function so evident that it tend to lose experiential qualities of the space.

THROUGH PRIMARY AND SECONDARY CASE STUDIES, AALTO, Synthetic expression of Aalto o is less delightful and impactful for user, Aalto being the strong factionalist often loses the characteristics of experiential spaces and playfulness quality.

Aalto’s design process was towards rationalism that it appears to us; that it missed out on the impactful experiential spaces.

Alvar Aalto’s organic modernism may be seductive. But it can also lead to the banal – by Owen Hatherley In order to make function so evident that it tend to lose experiential qualities of the space.

In his work ‘Humane’ lies from site scale to, handle scale (from Aalto) The idea of ‘organic aesthetics’ (Villa Mariea ‘beauty as expression’, 3.4.5) It can be said that it did takes traces from Japanese aesthetics. Can villa mairea be the model to explain ‘wabi-sabi’.

CO-RELATION If the program is rich the translation of the space can tends to be humane (Paimio, Prathama) CASE+CASE 2 (PRATHMA) Aalto’s case 2; Paimio , where ‘the human’ was the model around which spaces were designed, Since it followed ‘function driven’ process, where in Prathama ‘human’ is a model but architectural forms speaks loudly, it appears to be ‘form driven’ at first.

Comparing both the architects and their approaches, it appears that Aalto thought inside out, where as Matharoo had built to interior approach, where he experimented with forms of the built first and then tried to fit the function meticulously.

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RE-LOOKING AT ‘FORM FOLLOWS FUNCTION’; As Victor Papanek brought light to this topic in his book ‘Design for the real world’, He says, “Should I design it to be functional,” The students say “or to be aesthetically pleasing?” This is the most heard, the most understandable and the most mixed up question in design today. “Do you want it to look good or the to work?” Barricades erected between what are really just two of many aspects of function. It is all quite simple: aesthetic value is an inherent part of function.

If we try to look at very basic question, which seems ordinary and banal for the field now but as design students it crosses our mind that ‘what is the relationship of form and function is all about?’. Does form follow function? Function Follow forms? Form follows Fiction? Form and function are one? All these triggers become the fundamental question while we try to shape ‘humane experiences.’ Such experiences can be crafted when we are in search of humane aesthetic; the language of aesthetics and what it speaks out as empathy. As we could conclude during the study that ‘humane’ is about the connection between architecture and ecology, the organic way of existing, the recreation of natural phenomena, when human is the center of architecture, when modernity and organic meets and the aesthetics emerge from within. The beauty lies in the wholeness of our built environments, what it talks about is the cohesion, the harmony of elements coming together, shaping our habitat. Hence is can be said as Aalto stated, ‘Beauty is harmony of function and form.’ It responses to the addressed quest mentioned by Victor Papanek in above stated paragraph. It also tries to answer the question we have as design students that, ‘should our design be utilitarian or experimental, should it be functional first or a spectacle? As Aalto tried to explain that the design and its aesthetic language is the amalgamation of both. As the study analyse Aalto’s function driven design process, so as it draws the parallel to Matharoo’s form driven design process, but still, both attitudes try to deal very meticulously to ‘nature’ as ‘human and environment’. That the space tends to establish ‘humane’ in the end. Through this insight we can say that, wither the function comes first or the form comes first as the attitude towards contemporary practices, still the ‘humane’ experiences can be achieved by the harmony between both.

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feedback 01

• Introduction should never start with ‘architecture’ as term.

• It shouldn’t be taken as the field, rather it should be referred as activity to define the context of the proposal content.

• ‘Perspective of Looking of Humanizing’, ‘Ways of Humanizing’, ‘elements of Humanizing’ or ‘inquiry into humanism’ are too many different directions to go about hence only one main path should be focused on.

• Emergence of humanism, Principle of humanism, and End of humanism should be discussed with new frame structure to explain ‘Humanizing’.

• Emphasis on ‘Principles of Humanizing’.

• That would help to set the context of study by its philosophies rather then physical boundary context.

• Try to look through the perspective of history into new contemporary age of humanism.

• An inquire into ‘form follows function’. ‘function follows form’ or ‘form and function are one’ this statement needs to be done, for testing the idea of thesis and anti-thesis together.

A detailed evaluation should be done.

• Hence, Pilot case study to define scope is essential.

• Look in to the philosophies of ‘subject and object’ talked by Libensky, Bernard Tschumi, Rem Koolhaas.

• A study into Alvar alto’s Humanism • As the study started with ‘humane experience’ and the values it hold, can we end some where that the roles of values while desiging any object or space , can be seen as tool to ‘humaize spaces’ • • • ACTION TAKEN: • ‘Humanism was deleted from the scope of the study. Since the taking traces from the history could have been much wider lens.

• “human centred design’ and ‘humanizing’ are two different approaches was understood through literature.

•

02 • Clarity on the term ‘Humanism’ and ‘Humanizing’ • Because one talks about History of Renaissance period and attributesaround same phase and another is term not defined to any phase but expected to see in practice of contemporary age.

• If It is ‘Humanizing’ as emphasis then the world we are living ‘Post Humanism’, needs to be understood in reference to same ‘corporeal presence’ as method.

• And hence a lens of the study totally changes to ‘Humanizing in Post Humanism’ • ‘Body as How?’ it shouldn’t be just taken as Human body but as Manmade bodies too.

• humane mind touching plastic bodies, how can body be taken as human body as well as a body which come in our contact through heptic or visual senses.

• • Understand what Donna Haraway talks about ‘nonhuman meets human’ through ‘A cyborg manifesto’ 163

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• • Look into magazine ‘Marg’ by Mulk Raj Anand to see how they have talked about humanism in that phase to today.

• ‘Untouchable’ novel by Mulk Raj Anand to open up a different perspective of humanising.

• Too many attribute to study ways of humanzing through legends like Juhani pallasma, Peter Zumthor , Geoffrey Scott, Victor Papanek. narrow down to few in terms of their philosophies.

• • ACTION TAKEN: • Since there were many attributes to study, literature was narrowed down to focusing on architect and their practices, to define how each translates ‘humanizing’.

• The sensual aspect of the space where the study was heading was made as a background since it talks in intangibles and thesis required to take up tangible factors.

03 • • • •

CONTENT SPECIFIC Humane + Space = ‘Experience’ = ‘Timeless’ Do justice to the basic chapterization.

‘Space as an embodied image’ when it contains meanings and meanings comes from values , the image our mind create through values and ethos. Hence humane through cultural values ?

‘Culture’ is ‘behavioral’ more then philosophical.

Hence, a three mode of inquiries and criteria of case study needs to be changed.

Don’t differentiate words like local, social, cultural.

Study body and mind and their result into space Body + mind = Spirit Hence, study of cultural phenomena of Japan and India.

End with timelessness through spiritual experience.

Do justice to introduction and objective of the thesis, rather then going way inside into spatial configuration.

• • • • • • • • • • • • • • •

GENERAL COMMENTS Elaborate theories into visuals Define criteria of your case studies and define ‘why’ factor

ACTIONS TAKEN: Do define the ambigious topic in to tengible form the frame structure was taken by chosig Alto and the road map was designed around his approch define ‘humane’ • Selection of case study was direct inpretations of those concepts..

DISCUSSIONS • However the topic has many directions to open upto but one lens should be decided at this stage, so that methodology could be decoded.

• The open discussion for possible directions: • ‘Man-nature, man-space and space-nature’ relations can be defined under ‘humane’?

• ‘Ecology’ is what makes ‘humane’?

• ‘Humanism’ to ‘Post Humanism’, the conversion within, through practices?

• To understand ‘humane’ can we take ‘human’ himself as model to study all the theories around?

• In terms of methodology: • Producing models through theories to experiment with concrete examples, and the direction can be opposite from solid to abstraction.

• It is necessary to conclude ‘so what these abstractions stands for and help us analyze?’

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ACTIONS TAKEN: Scope was defined by stating what ‘humane’ means in this thesis, by taking Alvar Aalto as lens.

It looked at many many meanings of same word ‘humane’ in our built environment, that it was necessary to narrow down to ‘one way of saying what humane can be ?”

ON CASESTUDY • • Keep the criteria to the point • Have basic information about the project at first • Background information through drawings and photo series • Repeat the frame structure to mark the reference and denoting the focus of a study. (what is foreground of the study and what is background) • The subcategories of the structure and further division seems sorted but as but every category should have highlighted ending and starting to the next which explains the reason of why something is needed to be studied?

• The intent of taking a study from architecture to interior to furniture and element is still not making justice here, hence a study needs to be framed again to establish that.

• Keep adding the Wikipedia definition to describe the word and base for further study.

• Beauty as ‘expression’ part don’t have a road map yet, needs to define that by retitling the same.

• Beauty as ‘function’ should be silent in the study of Villa Mariea.

• Footnotes • Hand done diagram strip at the bottom ON FRAME STRUCTURE - Number the sub structure of the frame work to make a reference - The focus according to case studies should be as follows: Case 1: nature driven Beauty as structure and beauty as expression: Villa Mariea Case 2: human need driven Beauty as Function : paimio Santorium - Both case study be briefly introduced in secondary case study of Gurjeet singh matharoo’s project, Prathma blood centre (this should be a cross check case study)

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bibliography WEBSITES: https://www.bl.uk/learning/cult/bodies/vitruvius/proportion.html https://www.alvaraalto.fi/content/uploads/2017/12/AAM_RN_Gamble.pdf http://arch1201alycey16.blogspot.com/2013/04/villa-mairea-ground-surface-and.html http://mairea.alvaraalto.fi/en/2.htm https://www.cambridge.org/core/journals/arq-architectural-research-quarterly/article/alvar-aalto-villa-mairea-19381939juhani-pallasmaa-ed-168-pp-157-mono-and-198-colour-illus-alvar-aalto-foundation-mairea-foundation-helsinki-1998-price-3935pb/FB7A75E0E827C3396B9AA35F6D9D59C7 https://mk6vs3l2vyghvrhz2f3klvt6-wpengine.netdna-ssl.com/wp-content/uploads/2018/01/ Villa-Mairea-Book-Chapter-John-Wiley-Sons-Inc_rev..pdf https://issuu.com/vr90/docs/tav_1

RESEARCH PAPERS: https://www.alvaraalto.fi/content/uploads/2017/12/AAM_RN_Niskanen.pdf https://www.alvaraalto.fi/content/uploads/2017/12/AAM_RN_Vesikansa.pdf https://www.alvaraalto.fi/content/uploads/2017/12/AAM_RN_Passe.pdf https://www.alvaraalto.fi/content/uploads/2017/08/heikinheimo_marianna_8.11.2017.pdf https://pdfs.semanticscholar.org/3e2d/faf622de2414252430ba0aaec4449818b419.pdf https://lib.dr.iastate.edu/cgi/viewcontent.cgi?article=1003&context=arch_pubs;Atmospheres https://www.jstor.org/stable/1503910?seq=1#metadata_info_tab_contents https://issuu.com/avnish.mehta/docs/lota_design_exercise

BOOKS Alvar Aalto : second nature

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by Gadanho, Pedro & Others

Alvar Aalto: between humanism ans materialism By Peter Reed- Kenneth & others 166

Alvar Aalto and the international style. Pearson, Paul David Design for the real world : human ecology and social change. Papanek, Architecture of humanism : a study in the history of taste. Scott, Geoffrey Architectural principles in the age of humanism. Wittkower, Rudolf Architectural theory of modernism : relating functions and forms Poerschke, Ute Nesting : by Robinson, Sarah Mind and image : an essay on art and architecture by Green, Herb Abstraction and transcendence

by Hien, Pham Thanh

Studies in tectonic culture : the poetics of construction in nineteenth and twentieth century architecture. Ed. by John Cava. Frampton, Kenneth Charles and Ray Eames : designers of the Twentieth Century. Kirkham, Pat Design for need : the social contribution of design. Bicknell, Julian Eyes of the skin : architecture and the senses. Pallasmaa, Juhani Embodied image Pallasmaa, Juhani Thinking hand : existential and embodied wisdom in architecture Pallasmaa, Juhani Timeless way of building Alexander, Christopher Atmospheres : architectural environments - surrounding objects Zumthor, Peter THESIS Architectonics of a place : an inquiry into the relationship between place and man a study of Auroville Semiotic taxonomy of metaphoric associations in interior design (Soft copy is available) by Patel, Misari P. (UI1313)

IMAGE CREDITS CH-1 Fig1.2 Retrieved from https://www.google.com/search?q=sankheda+Ghodiyu&rlz=1C5CHFA_enIN737IN737&source=lnms&tbm=isch&sa=X&ved=0ahUKEwjkk9HosublAhXEbSsKHRjnBUAQ_AUIEigB&biw=1280&bih=640#imgrc=XQ-Qzvyggr6y3M: Fig1.3 Retrieved from https://www.google.com/search?q=Temple+bell&rlz=1C5CHFA_enIN737IN737&source=lnms&tbm=isch&sa=X&ved=0ahUKEwjLt4OxsublAhWFTX0KHXT9BWAQ_ AUIEigB&biw=1280&bih=640&dpr=2#imgrc=SO90IQ5PZQhWiM: 167

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Fig 1.4 Retrieved from https://www.google.com/search?rlz=1C5CHFA_enIN737IN737&biw=1280&bih=640&tbm=isch&sa=1&ei=iojLXc23NfDWz7sP3-aSoAw&q=chai+ki+pyali&oq=chai+ki+pya&gs_l=img.1.0.0l6j0i5i30l4.73278.80533..81774...0.0..0.179.1645.

1j11......0....1..gws-wiz-img.....0..0i67.sz0f8lB-kiU#imgrc=RKfidm4DKbngaM: Fig 1.5 Retrieved from https://www.google.com/search?rlz=1C5CHFA_enIN737IN737&biw=1280&bih=640&tbm=isch&sa=1&ei=B43LXcKPB9mP9QOB2LroDw&q=House+of+Mg+cour tyard&oq=House+of+Mg+courtyard&gs_l=img.3...7125.12182..12317...1.0..0.180.1546.0j10......0....1.. gws-wiz-img.......0j0i30j0i5i30j0i24.lUOklBWbvZk&ved=0ahUKEwiCr6eFs-blAhXZR30KHQGsDv0Q4dUDCAc&uact=5#imgrc=_GBfmR8loL4dYM: Fig 1.6 Retrieved from https://www.google.com/search?rlz=1C5CHFA_enIN737IN737&biw=1280&bih=640&tbm=isch&sa=1&ei=FY3LXfnDB9u1rQGA2oagBQ&q=gandho+asshram+black+and+whit&oq=gandho+asshram+black+and+whit&gs_l=img.3...91122.98176..98510...0.0..0.217.4736.1j2 8j1......0....1..gws-wiz-img.....0..0j0i131j0i67j0i10.xnJv9WPOLQ8&ved=0ahUKEwi5ov6Ls-blAhXbWisKHQCtAVQQ4dUDCAc&uact=5#imgrc=3xZYM2XOE-rwAM: Fig 1.7 Retrieved from https://www.google.com/search?rlz=1C5CHFA_enIN737IN737&biw=1280&bih=640&tbm=isch&sa=1&ei=eI3LXZaHN5P49QPjwbhY&q=Kamla+house+dodhi&oq=Kam la+house+dodhi&gs_l=img.3...26416.32953..33215...0.0..0.206.3065.1j14j3......0....1.. gws-wiz-img.....0..0j0i131j0i67j0i10j0i8i30j0i24j0i30j0i333.zkcq-nI1Gt4&ved=0ahUKEwiWo8i7s-blAhUTfH0KHeMgDgsQ4dUDCAc&uact=5#imgrc=OkhoJ77kk85-RM: Fig 1.8 Retrieved from https://www.google.com/search?rlz=1C5CHFA_enIN737IN737&biw=1280&bih=640&tbm=isch&sa=1&ei=443LXcWlFMi-9QOAzJL4DQ&q=pol+house+otla&oq=pol+house+otla&gs_l=im g.3...59107.63467..63672...1.0..0.223.2613.1j12j3......0....1..gws-wiz-img.....0..0i67j0j0i10i24j0i10j0i30j0i5i30j0i8i30.1RF80M8Rnlo&ved=0ahUKEwiFo6jus-blAhVIX30KHQCmBN8Q4dUDCAc&uact=5#imgrc=adsfBWsE9VLpiM: Fig 1.9 Retrieved from https://www.google.com/search?rlz=1C5CHFA_enIN737IN737&biw=1280&bih=640&tbm=isch&sa=1&ei=xo3LXbabOY6S9QP9y6HABg&q=pol+street+Chwak+&oq=pol+street+Chwak+&gs_l=img.3...23759.26969..27318...1.0..1.192.1163.0j7......0....1..gws-wiz-img.407PvZTNPuc&ved=0ahUKEwi2luPgs-blAhUOSX0KHf1lCGgQ4dUDCAc&uact=5#imgrc=eliXzl6jYaPTlM: Fig 1.10 Retrieved from https://www.google.com/search?q=North+lawn+cept&rlz=1C5CHFA_enIN737IN737&source=lnms&tbm=isch&sa=X&ved=0ahUKEwiZ6d-btOblAhWPF3IKHa1_BJUQ_AUIEygC&biw=1280&bih=640&dpr=2#imgdii=3Qr8HvpVEkXIBM:&imgrc=Pm_U77PjyLaQ1M: Fig 1.11 Retrieved from https://www.google.com/search?rlz=1C5CHFA_enIN737IN737&biw=1280&bih=640&tbm=isch&sa=1&ei=HCDMXdXbNYPD3LUPpKywwAU&q=CHARLES+EAMES+HOUSE+&oq=CHARLES+EAMES+HOUSE+&gs_l=img.3..0l2j0i30j0i5i30l2j0i8i30l5.48622.48622..48910...0.0..0.13 2.132.0j1......0....1..gws-wiz-img._sdTHK2NwE8&ved=0ahUKEwjV2YKov-flAhWDIbcAHSQWDFgQ4dUDCAc&uact=5#imgrc=sfHh2eIeTFv_bM: Fig 1.12 Retrieved from

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https://www.google.com/search?q=CHARLES+EAMES+HOUSE+OBJECTS&rlz=1C5CHFA_enIN737IN737&source=lnms&tbm=isch&sa=X&ved=0ahUKEwi0odXXuOflAhXW73MBHUviBuIQ_ 168

AUIEigB&biw=1280&bih=640#imgrc=wpbnwtJ4vkFIbM: Fig 1.13 Retrieved from a book called Kamla house Fig 1.14 Self taken Fig 1.15 Retrieved from https://www.google.com/search?rlz=1C5CHFA_enIN737IN737&biw=1280&bih=689&tbm=isch&sa=1&ei=SZnLXdSjHf_Vz7sP2fqowA4&q=lota+theory+charles+eames&oq=lota+theory+charles+eames&gs_l=img.3...24643.28735..29020...2.0..0.263.1861.0j11j1......0....1.. gws-wiz-img.dR0ELBOSNAo&ved=0ahUKEwiU7OXdvublAhX_6nMBHVk9CugQ4dUDCAc&uact=5#imgrc=qqTU1_rHQkTH8M: Fig 1.16 and Fig 1.19 Retrieved from https://issuu.com/avnish.mehta/docs/lota_design_exercise Fig 1.17 Retrieved from https://www.google.com/search?q=lota+theor y+charles+eames&rlz=1C5CHFA_enIN737IN737&source=lnms&tbm=isch&sa=X&ved=0ahUKEwjr6JX2wOflAhVfH7cAHZXXAlEQ_AUIEigB&biw=1280&bih=640&dpr=2#imgdii=M10n0YJ3tochfM:&imgrc=2oOi8_mpq4srUM: Fig 1.18 Self taken Fig 1.20 and 21 Self generated Fig 1.22 Retrieved from https://www.google.com/search?q=atma+building+ahmedabad&rlz=1C5CHFA_enIN737IN737&source=lnms&tbm=isch&sa=X&ved=0ahUKEwjhr-Th2uflAhXQH7cAHQ2rDvYQ_AUIEigB&biw=1280&bih=640#imgdii=sop4JhFTtRBv7M:&imgrc=5E_Jc8SYgH5o2M: Fig 1.23 Retrieved from https://www.google.com/search?rlz=1C5CHFA_enIN737IN737&biw=1280&bih=640&tbm=isch&sa=1&ei=5zzMXdeYL8Liz7sP1aWkgA8&q=atma+building+ahmedabad+daigrams&oq=atma+building+ahmedabad+daigrams&gs_l=img.3...136666.138903..139078.. .0.0..0.175.1208.0j9......0....1..gws-wiz-img.......0j0i30.392IUoNZwNA&ved=0ahUKEwiXqN7i2uflAhVC8XMBHdUSCfAQ4dUDCAc&uact=5#imgrc=4veTvZfkUha1uM: Fig 1.24, 25, 25 Self generated Fig 1.26 Self generated Fig 1.27 Retrieved from https://www.google.com/search?rlz=1C5CHFA_enIN737IN737&biw=1280&bih=689&tbm=isch&sa=1&ei=2X_bXfvYNJmG4-EPwvOqqAM&q=alvar+aalto+library+&oq=alvar+aalto+library+&gs_l=img.3..0l6j0i30j0i5i30j0i8i30l2.2231.4142..4406...0.0..0.379.2179.0j1j 7j1......0....1..gws-wiz-img.......0i67.oCWgJ6waGOg&ved=0ahUKEwi7qejc6ITmAhUZwzgGHcK5CjUQ4dUDCAc&uact=5#imgrc=-Hc_IjEYADD3fM: Fig 1.28 Retrieved from https://www.google.com/search?q=peter+zumthor&rlz=1C5CHFA_enIN737IN737&source=lnms&tbm=isch&sa=X&ved=2ahUKEwi_9dW86ITmAhVWbn0KHYodCxIQ_AUoAXoECBAQAw&biw=1280&bih=689#imgrc=xDYDJf_uGCch2M: Fig 1.29 Retrieved from https://www.google.com/search?rlz=1C5CHFA_enIN737IN737&biw=1280&bih=689&tbm=isch&sa=1&ei=33_bXdnmFP2V4-EPnZa28Ac&q=tadao+ando&oq=tada&gs_ l=img.1.0.0i67l3j0l3j0i67l3j0.35159.36470..37952...0.0..0.511.1316.1j0j2j1j0j1......0....1.. gws-wiz-img.....0.7gJ5fWm6vCw#imgrc=3pwZORNHuIptaM:

169

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CH 2 Fig 2.1 Retrieved from https://www.port-magazine.com/design/design-guide-alvar-aaltos-helsinki/ Fig 2.2 Retrieved from https://www.google.com/search?q=experimental+house+aalto&rlz=1C5CHFA_enIN737IN737&source=lnms&tbm=isch&sa=X&ved=0ahUKEwiWherc2OjlAhXT4HMBHUt8DZYQ_ AUIEygC&biw=1280&bih=640#imgrc=lBTdEcjS8UBxlM: Fig 2.3 Retrieved from https://www.google.com/search?rlz=1C5CHFA_enIN737IN737&biw=1280&bih=640&tbm=isch&sa=1&ei=_MDMXbzWA8Hfz7sPl8WOmA8&q=villa+mairea+door&oq=villa+mairea+door&gs_l=img.3..0j0i8i30.1090440.1099192..1099422...0.0..0.147.2672.0j22......0....1.. gws-wiz-img.....0..0i67j0i30.P9v2k_q0da8&ved=0ahUKEwi8xNjd2OjlAhXB73MBHZeiA_ MQ4dUDCAc&uact=5#imgrc=EVQpao_71a9jaM: Fig 2.5 Retrieved from https://www.google.com/search?rlz=1C5CHFA_enIN737IN737&biw=1280&bih=640&tbm=isch&sa=1&ei=w8XMXerZK-S0mgf6tZ6gAQ&q=paimio+sanatorium+interior&oq=Paimio+interior&gs_l=img.1.0.0i8i30j0i5i30.2136.27447..29132...0.0..0.342.1726.0j11j0j1......0....1..gws-wizimg.......0i24j0j0i30.H4Z8dqMEj7s#imgdii=hc9XO2U51LRieM:&imgrc=Lvo7IhDF2N3cwM: Fig 2.6 Retrieved from https://www.google.com/search?rlz=1C5CHFA_enIN737IN737&biw=1280&bih=640&tbm=isch&sa=1&ei=yJ7MXeXTCcXdz7sPxLucmAw&q=alvar+aalto++curved+walls&oq=alvar+aalto++curved+walls&gs_l=img.3...111207.116316..116526...0.0..0.128.1682.0j15......0....1.. gws-wiz-img.......0j0i30j0i8i30.0MrzgOn0HCU&ved=0ahUKEwjl18aOuOjlAhXF7nMBHcQdB8MQ4dUDCAc&uact=5#imgrc=N_PnQf-eM-gdxM: Fig 2.8 Retrieved from https://www.google.com/search?rlz=1C5CHFA_enIN737IN737&biw=1280&bih=640&tbm=isch&sa=1&ei=85_MXbWNEJPez7sPvOekgAY&q=alvar+Aalto++brick+building+&oq=alvar+Aalto++brick+building+&gs_l=img.3...233922.238882..239122...0.0..0.136.1927.

0j17......0....1..gws-wiz-img.......0i67j0j0i8i30j0i30.4WGSRjoDjPI&ved=0ahUKEwj10paduejlAhUT73MBHbwzCWAQ4dUDCAc&uact=5#imgdii=dC7fg-cvY4guCM:&imgrc=7xbhRiW4b_ JFGM: Fig 2.9 Retrieved from https://www.google.com/search?rlz=1C5CHFA_enIN737IN737&biw=1280&bih=640&tbm=isch&sa=1&ei=AKLMXbr3DoXTz7sPqMWnuAU&q=alvar+aalto+and+nature+building+forms&oq=alvar+aalto+and+nature+building+forms&gs_l=img.3...156065.158048..159037...0.0..0.1 15.1200.0j11......0....1..gws-wiz-img.g3cypEYJNmI&ved=0ahUKEwi698CXu-jlAhWF6XMBHajiCVcQ4dUDCAc&uact=5#imgrc=CqAB0W_Qcf4UXM: Fig 2.10 Retrieved from https://www.google.com/search?rlz=1C5CHFA_enIN737IN737&biw=1280&bih=640&tbm=isch&sa=1&ei=EJvMXbeKL_zgz7sPppS0gA0&q=alvar+aalto+building+forms&oq=alvar+aalto+building+forms&gs_l=img.3...8357.10887..11067...0.0..0.124.782.0j7......0....1.. gws-wiz-img.......0j0i333j0i30j0i8i30.MHzKq7rURCI&ved=0ahUKEwi30vLItOjlAhV88HMBHSYKDdAQ4dUDCAc&uact=5#imgrc=iejN_LfBFd_nCM: Fig 2.11,2.12, 2.13., 2.14 Retrieved from https://mcginlaybell.com/work/alvar-aalto/ Fig 2.15 Self generated

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Fig 2.16 Retrieved from https://www.google.com/search?rlz=1C5CHFA_enIN737IN737&tbm=isch&q=alvar+aal170

to+building+sketch&spell=1&sa=X&ved=0ahUKEwiTv5e9tujlAhUK6nMBHUObD7cQBQhCKAA&biw=1280&bih=640&dpr=2#imgrc=zUcrKIhalRT6IM: Fig 2.17, 2.18 Retrieved from https://www.google.com/search?rlz=1C5CHFA_enIN737IN737&biw=1280&bih=689&tbm=isch&sa=1&ei=sM_MXc6bIIXYz7sPuLC7mA0&q=people+in+paimio+santorium&oq=people+in+paimio+santorium&gs_l=img.3...16087.24620..24922...1.0..0.148.3055.0j26......0....1.. gws-wiz-img.....0..0i67j0.X2qemlNwG4g&ved=0ahUKEwjOs93g5ujlAhUF7HMBHTjYDtMQ4dUDCAc&uact=5#imgdii=bjJIBubiqtxrCM:&imgrc=Nc_5L4eDsm_4DM: Fig 2.19, 2.20 self generated CH 3 Fig 3.0 Retrieved from a bool Alvar alto: humanism and materialism Fig 3.1 Retrieved from https://www.alvaraalto.fi/content/uploads/2017/12/AAM_RN_Radford.pdf Fig 3.2, 3.3, 3.4, 3.5, 3.6, 3.7 Retrieved from https://www.irix.co/International-Architectural-competition-for-an-extension-between-the Fig 3.8 to 3.11 Self generated Fig 3.12,13 Self generated https://www.google.com/search?q=firmitas+utilitas+venustas&rlz=1C5CHFA_enIN737IN737&source=lnms&tbm=isch&sa=X&ved=2ahUKEwjf8IbSk4fmAhWXXSsKHakdCU0Q_AUoAXoECA8QAw&biw=1280&bih=689 Fig 3.14 to 3.19 Self generated https://www.google.com/search?rlz=1C5CHFA_enIN737IN737&biw=1280&bih=640&tbm=isch&sa=1&ei=Fp3MXfn2CuOZmgfJlbqABQ&q=alvar+aalto++display+building&oq=alvar+aalto++display+building&gs_l=img.3...424240.431785..432463...1.0..0.121.1323.

0j12......0....1..gws-wiz-img.......0j0i30j0i8i30j0i333j0i5i30j0i24j0i7i30.TfGO4LkYC_w&ved=0ahUKEwj52c6_tujlAhXjjOYKHcmKDlAQ4dUDCAc&uact=5#imgrc=PXgfiB7fE0QuaM: 3.4 Villa Mairea Fig 3.20 to 3.23 Retrieved from https://www.google.com/search?rlz=1C5CHFA_enIN737IN737&tbm=isch&q=alvar+aalto+building+sketch&spell=1&sa=X&ved=0ahUKEwiTv5e9tujlAhUK6nMBHUObD7cQBQhCKAA&biw=1280&bih=640&dpr=2#imgrc=qzBV3xxz2Ac7mM: Fig 3.24 to 3.29 Retrieved from https://www.google.com/search?rlz=1C5CHFA_enIN737IN737&biw=1280&bih=689&tbm=isch&sa=1&ei=zrrcXeyeGdm-9QPI14-ICw&q=drawing+of+villa+mariea&oq=drawing+of+villa+mariea&gs_l=img.3...1666.3199..3319...0.0..0.186.1584.0j9......0....1.. gws-wiz-img.......0i67j0j0i30j0i8i30.wj-Z3BMh42Q&ved=0ahUKEwjsvcCLlYfmAhVZX30KHcjrA7EQ4dUDCAc&uact=5#imgrc=oQE2j0RluXdrnM: Fig 3.30 to 3. 48 Retrieved from https://www.google.com/search?q=villa+mairea+alvar+aalto&rlz=1C5CHFA_enIN737IN737&source=lnms&tbm=isch&sa=X&ved=2ahUKEwiT9er8lIfmAhWDbysKHVfgBCkQ_ AUoAXoECA4QAw&biw=1280&bih=689 Fig 3.49 Self generated

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Fig 3.54 to 3.66 Self generated Fig 3.67 Retrieved from https://www.google.com/search?rlz=1C5CHFA_enIN737IN737&tbm=isch&q=alvar+aalto+building+sketch&spell=1&sa=X&ved=0ahUKEwiTv5e9tujlAhUK6nMBHUObD7cQBQhCKAA&biw=1280&bih=640&dpr=2#imgrc=0lFs4jc20ExYyM: Fig 3.68 3.69 Retrieved from https://www.google.com/search?q=isovist+of+villa+mairea&rlz=1C5CHFA_enIN737IN737&source=lnms&tbm=isch&sa=X&ved=2ahUKEwjHwvnhlYfmAhULfH0KHUWlCF0Q_AUoAXoECAwQAw&biw=1280&bih=689#imgrc=ui9pKFu58pl7JM: Fig 3.70 to 3.72 Retrieved from http://rozanamontiel.com/en/investigaciones/villa-mairea/ Fig 3.73 to 3.79 Self generated Fig 3.80 to 3.85 Self generated Fig 3.86 to 3.92 Retrieved from https://mcginlaybell.com/work/alvar-aalto/ CH 4 Fig 4.1 Self generated Fig 4.2 Retrieved from https://learning.oreilly.com/library/view/rethinking-design-and/9781856697569/ Fig 4.3 To 4.10 Retrieved from https://www.google.com/search?q=PAIMIO+DRAWING&rlz=1C5CHFA_enIN737IN737&source=lnms&tbm=isch&sa=X&ved=2ahUKEwj-w9LSl4fmAhXHZSsKHbUBCysQ_AUoAXoECAsQAw&biw=1280&bih=689#imgrc=BjbySHA88rB38M: Fig 4.11 To 4.26 Retrieved from https://www.google.com/search?rlz=1C5CHFA_enIN737IN737&biw=1280&bih=689&tbm=isch&sa=1&ei=fr3cXYHKHaD7z7sPhKyvyAs&q=paimio+sanatorium+interior&oq=PAIMIO+interior&gs_l=img.3.0.0i8i30j0i5i30.66782.70259..71406...1.0..0.217.2250.0j12j1......0....1..gws-wizimg.......0j0i30.Hd_TGFq9c5w#imgrc=hc9XO2U51LRieM: Fig 4.27 to 4.31 Self generated CH 5 Fig 5.1 To 5.7 Retrieved from https://architexturez.net/doc/az-cf-20473 Fig 5.8 To 5.14 Retrieved from https://architexturez.net/doc/az-cf-20473 Fig 5.15 to 5.30 Self generated

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