Hugo Alvar Henrik Aalto (Finnish:[ˈhuːɡoˈɑlʋɑrˈhenrikˈɑːlto]; 3 February 1898 – 11 May 1976) was a Finnisharchitect and designer.[1] His work includes architecture, furniture,textiles andglassware, as well as sculptures and paintings. He never regarded himself as an artist, seeing painting and sculpture as "branches of the tree whose trunk is architecture."[2] Aalto's early career ran in parallel with the rapid economic growth and industrialization of Finland during the first half of the 20th century. Many of his clients were industrialists, among them theAhlström-Gullichsen family, who became his patrons.[3] The span of his career, from the 1920s to the 1970s, is reflected in the styles of his work, ranging fromNordic Classicism of the early work, to a rationalInternational Style Modernism during the 1930s to a more organic modernist style from the 1940s onwards.
His architectural work, throughout his entire career, is characterized by a concern for design asGesamtkunstwerk—atotal work of art in which he, together with his first wifeAino Aalto, would design not only the building but the interior surfaces, furniture, lamps, and glassware as well. His furniture designs are consideredScandinavian Modern, an aesthetic reflected in their elegant simplification and concern for materials, especially wood, but also in Aalto's technical innovations, which led him to receiving patents for various manufacturing processes, such as those used to produce bent wood.[4] As a designer he is celebrated as a forerunner ofmidcentury modernism in design; his invention of bent plywood furniture[5] had a profound impact on the aesthetics ofCharles and Ray Eames andGeorge Nelson.[6] TheAlvar Aalto Museum, designed by Aalto himself, is located in what is regarded as his home city,Jyväskylä.[7]
The entry for him on theMuseum of Modern Art website notes his "remarkable synthesis of romantic and pragmatic ideas," adding
His work reflects a deep desire to humanize architecture through an unorthodox handling of form and materials that was both rational and intuitive. Influenced by the so-called International Style modernism (or functionalism, as it was called in Finland) and his acquaintance with leading modernists in Europe, including Swedish architectErik Gunnar Asplund and many of the artists and architects associated with theBauhaus, Aalto created designs that had a profound impact on the trajectory of modernism before and after World War II.[8]
Hugo Alvar Henrik Aalto was born inKuortane, Finland.[10] His father, Johan Henrik Aalto, was a Finnish-speaking land-surveyor and his mother, Selma Matilda "Selly" (née Hackstedt) was a Swedish-speaking postmistress. When Aalto was 5 years old, the family moved toAlajärvi,[11] and from there toJyväskylä inCentral Finland.[12]
He built his first piece of architecture while a student; a house for his parents atAlajärvi.[14][11] Later, he continued his education, graduating in 1921. In the summer of 1922 he began military service, finishing at Hamina reserve officer training school, and was promoted to reserve second lieutenant in June 1923.[15]
In 1920, while a student, Aalto made his first trip abroad, travelling via Stockholm toGothenburg, where he briefly found work with architect Arvid Bjerke.[16] In 1922, he accomplished his first independent piece at the Industrial Exposition inTampere.[14] In 1923, he returned toJyväskylä, where he opened an architectural office under the name 'Alvar Aalto, Architect and Monumental Artist'. At that time he wrote articles for the Jyväskylä newspaperSisä-Suomi under the pseudonym Remus.[15] During this time, he designed a number of small single-family houses in Jyväskylä, and the office's workload steadily increased.[12]
On 6 October 1924, Aalto married architectAino Marsio. Their honeymoon in Italy was Aalto's first trip there, though Aino had previously made a study trip there.[17] The latter trip together sealed an intellectual bond with the culture of theMediterranean region that remained important to Aalto for life.
On their return they continued with several local projects, notably the Jyväskylä Worker's Club, which incorporated a number of motifs which they had studied during their trip, most notably the decorations of the Festival hall modelled on theRucellai Sepulchre in Florence byLeon Battista Alberti. After winning the architecture competition for the Southwest Finland Agricultural Cooperative building in 1927, the Aaltos moved their office toTurku. They had made contact with the city's most progressive architect,Erik Bryggman before moving. They began collaborating with him, most notably on the Turku Fair of 1928–29. Aalto's biographer, Göran Schildt, claimed that Bryggman was the only architect with whom Aalto cooperated as an equal.[18] With an increasing quantity of work in the Finnish capital, the Aaltos' office moved again in 1933 to Helsinki.[19]
The Aaltos designed and built ajoint house-office (1935–36) for themselves inMunkkiniemi, Helsinki, but later (1954–56) had apurpose-built office erected in the same neighbourhood – now the former is a "home museum" and the latter the premises of the Alvar Aalto Academy. In 1926, the young Aaltos designed and had built for themselves a summer cottage inAlajärvi, Villa Flora.[12][11]
Aino and Alvar had two children, a daughter, Johanna "Hanni" (married surname Alanen; born 1925), and a son, Hamilkar Aalto (born 1928). Aino Aalto died of cancer in 1949.
Although he is sometimes regarded as among the first and most influential architects of Nordicmodernism, closer examination reveals that Aalto (while a pioneer in Finland) closely followed and had personal contacts with other pioneers in Sweden, in particularGunnar Asplund[21][22] andSven Markelius.[23] What they and many others of that generation in the Nordic countries shared was a classical education and an approach to classical architecture that historians now callNordic Classicism.[24] It was a style that had been a reaction to the previous dominant style ofNational Romanticism before moving, in the late 1920s, towards Modernism.[25]
Upon returning to Jyväskylä in 1923 to establish his own architect's office, Aalto designed several single-family homes designed in the style of Nordic Classicism. For example, the manor-like house for his mother's cousin Terho Manner in Töysa (1923), a summer villa for the Jyväskylä chief constable (also from 1923) and the Alatalo farmhouse in Tarvaala (1924). During this period he completed his first public buildings, the Jyväskylä Workers' Club in 1925, theJyväskylä Defence Corps Building in 1926 and theSeinäjoki Civil Guard House building in 1924–29.[citation needed] He entered several architectural competitions for prestigious state public buildings, in Finland and abroad. This included two competitions for the Finnish Parliament building in 1923 and 1924, the extension to theUniversity of Helsinki in 1931, and the building to house theLeague of Nations in Geneva, Switzerland, in 1926–27.[citation needed]
Aalto's first church design to be completed,Muurame church, illustrates his transition from Nordic Classicism to Functionalism.[26]
This was the period when Aalto was most prolific in his writings, with articles for professional journals and newspapers. Among his most well-known essays from this period are "Urban culture" (1924),[27] "Temple baths on Jyväskylä ridge" (1925),[28] "Abbé Coignard's sermon" (1925),[29] and "From doorstep to living room" (1926).[30]
The shift in Aalto's design approach from classicism to modernism is epitomised by theViipuri Library inVyborg (1927–35), which went through a transformation from an originally classical competition entry proposal to the completed high-modernist building. His humanistic approach is in full evidence in the library: the interior displays natural materials, warm colours, and undulating lines. Due to problems related to financing, compounded by a change of site, the Viipuri Library project lasted eight years. During that time, Aalto designed the Standard Apartment Building (1928–29) in Turku, the Turun Sanomat Building (1929–30), and the Paimio Sanatorium (1929–32), which he designed in collaboration with his first wifeAino Aalto. A number of factors contributed to Aalto's shift towards modernism: his increased familiarity with international trends, facilitated by his travels throughout Europe; the opportunity to experiment with concrete prefabrication in the Standard Apartment Building; the cutting-edgeLe Corbusier-inspired formal language of the Turun Sanomat Building; and Aalto's application of both in thePaimio Sanatorium and in the ongoing design for the library. Although the Turun Sanomat Building and Paimio Sanatorium are comparatively pure modernist works, they carried the seeds of his questioning of such an orthodox modernist approach and a move to a more daring, synthetic attitude. It has been pointed out that the planning principle for Paimio Sanatorium – the splayed wings – was indebted to the Zonnestraal Sanatorium (1925–31) by Jan Duiker, which Aalto visited while it was under construction.[32] While these early Functionalist bear hallmarks of influences fromLe Corbusier,Walter Gropius, and other key modernist figures of central Europe, Aalto nevertheless started to show his individuality in a departure from such norms with the introduction of organic references.
Through Sven Markelius, Aalto became a member of theCongres Internationaux d'Architecture Moderne (CIAM), attending the second congress in Frankfurt in 1929 and the fourth congress in Athens in 1933, where he established a close friendship withLászló Moholy-Nagy,Sigfried Giedion, andPhilip Morton Shand. It was during this time that he closely followed the work of the main force driving the new modernism,Le Corbusier, visiting him in his Paris office several times in the following years.
It was not until the completion of the Paimio Sanatorium (1932) and Viipuri Library (1935) that Aalto first achieved world attention in architecture. His reputation grew in the US following the invitation to hold a retrospective exhibition of his works at MOMA in New York in 1938. (This was his first visit to the States.) The exhibition, which later went on a 12-city tour of the country, was a landmark: Aalto was the second-ever architect – after Le Corbusier – to have a solo exhibition at the museum. His reputation grew in the US following the critical reception of his design for the Finnish Pavilion at the1939 New York World's Fair, described byFrank Lloyd Wright as a "work of genius".[33] It could be said that Aalto's international reputation was sealed with his inclusion in the second edition of Sigfried Giedion's influential book on Modernist architecture,Space, Time, and Architecture: The growth of a new tradition (1949), in which Aalto received more attention than any other Modernist architect, includingLe Corbusier. In his analysis of Aalto, Giedion gave primacy to qualities that depart from direct functionality, such as mood, atmosphere, intensity of life, and even national characteristics, declaring that "Finland is with Aalto wherever he goes."
During the 1930s Alvar spent some time experimenting with laminated wood, sculpture and abstract relief, characterized by irregular curved forms. Utilizing this knowledge, he was able to solve technical problems concerning the flexibility of wood while at the same time working out spatial issues in his designs.[13] Aalto's early experiments with wood and his move away from a purist modernism would be tested in built form with the commission to designVilla Mairea (1939) inNoormarkku, the luxury home of young industrialist couple Harry andMaire Gullichsen. It was Maire Gullichsen who acted as the main client, and she worked closely not only with Alvar but also with Aino Aalto on the design, encouraging them to be more daring in their work. The building forms a U-shape around a central inner 'garden' whose central feature is a kidney-shaped swimming pool. Adjacent to the pool is a sauna executed in a rustic style, alluding to both Finnish and Japanese precedents. The design of the house is a synthesis of numerous stylistic influences, from traditional Finnish vernacular to purist modernism, as well as influences from English and Japanese architecture. While the house is clearly intended for a wealthy family, Aalto nevertheless argued that it was also an experiment that would prove useful in the design of mass housing.[34]
His increased fame led to offers and commissions outside Finland. In 1941, he accepted an invitation as a visiting professor to theMassachusetts Institute of Technology in the US. During theSecond World War, he returned to Finland to direct the Reconstruction Office. After the war, he returned to MIT, where he designed the student dormitoryBaker House, completed in 1949.[35] The dormitory flanked theCharles River, and its undulating form provided maximum view and ventilation for each resident.[36] This was the first building of Aalto's redbrick period. Originally used in Baker House to signify the Ivy League university tradition, Aalto went on to use it in a number of key buildings after his return to Finland, most notably in several of the buildings in the newHelsinki University of Technology campus (starting in 1950),Säynätsalo Town Hall (1952), Helsinki Pensions Institute (1954),Helsinki House of Culture (1958), as well as in his own summer house, theExperimental House in Muuratsalo (1957).[37]
In the 1950s Aalto immersed himself in sculpting, exploring wood, bronze, marble, and mixed media. Among the notable works from this period is his 1960 memorial to theBattle of Suomussalmi. Located on the battlefield, it consists of a leaning bronze pillar on a pedestal.[13]
Alvar Aalto's signature on the wall of theJyväskylä theatre
Foremost among Aalto's work from the early 1960s until his death in 1976 were his projects in Helsinki, in particular the huge town plan for the void in the centre of Helsinki adjacent toTöölö Bay and the vastrailway yards, an area marked on the edges by significant buildings such as the National Museum and the main railway station, both byEliel Saarinen. In his town plan, Aalto proposed a line of separate marble-clad buildings fronting the bay, which would house various cultural institutions, including a concert hall, opera, museum of architecture, and headquarters for theFinnish Academy. The scheme also extended into theKamppi district with a series of tall office blocks. Aalto first presented his vision in 1961, but it went through various modifications during the early '60s. Only two fragments of the overall plan were realized: theFinlandia Hall concert hall (1976) fronting on Töölö Bay and an office building in the Kamppi district for the Helsinki Electricity Company (1975). Aalto also employed theMiesian formal language of geometric grids used in those buildings for other sites in Helsinki, including theEnso-Gutzeit headquarters building (1962), theAcademic Bookstore (1962), and the SYP Bank building (1969).
Following Aalto's death in 1976, his office continued to operate under the direction of his widow Elissa, who oversaw the completion of works already designed (to some extent), among them the Jyväskylä City Theatre andEssen opera house. Since the death of Elissa Aalto, the office has continued to operate as the Alvar Aalto Academy, giving advice on the restoration of Aalto buildings and organizing the practice's vast archives.
Although Aalto was famous for his architecture, his furniture designs were admired and are still popular today. He studied with the architect-designerJosef Hoffmann at theWiener Werkstätte(engl.: "Vienna Workshop") and worked, for a time, underEliel Saarinen.[4] He also drew inspiration fromGebrüder Thonet.[4] During the late 1920s and 1930s, he worked closely with Aino Aalto on his furniture designs, a focus due in part to his decision to design many of the individual furniture pieces and lamps for the Paimio Sanatorium. Of particular significance was the Aaltos' experimentation in bent plywood chairs, most notably the so-called Paimio chair, designed for tuberculosis patients, and theModel 60 stacking stool. The Aaltos, together with visual arts promoter Maire Gullichsen and art historian Nils-Gustav Hahl, founded theArtek company in 1935, ostensibly to sell Aalto products but which also imported pieces by other designers.[38] Aalto became the first furniture designer to use the cantilever principle in chair designs using wood.[4]
Aalto's career spans the changes in style from (Nordic Classicism) to puristInternational Style Modernism to a more personal, synthetic, and idiosyncratic Modernism. Aalto's wide field of design activity ranges from large-scale projects such ascity planning and architecture to more intimate, human-scale work in interior design, furniture andglassware design, and painting. It has been estimated that during his entire career Aalto designed over 500 individual buildings, approximately 300 of which were built. The vast majority of them are in Finland. He also has a few buildings in France, Germany, Italy, and the US.[42]
Aalto's work with wood was influenced by early Scandinavian architects. His experiments and bold departures from aesthetic norms brought attention to his ability to make wood do things not previously done. His techniques in the way he cutbeech wood, for example, and his ability to use plywood as a structural element while at the same time exploiting its aesthetic properties, were at once technically innovative and artistically inspired. Other examples of his boundary-pushing sensibility include the vertical placement of rough-hewn logs at his pavilion at theLapua expo, a design element that evoked a medieval barricade. At the orchestra platform atTurku and the Paris expo at the World Fair, he used varying sizes and shapes of planks. Also at Paris (and atVilla Mairea), he utilized birch boards in a vertical arrangement. HisVyborg Library, built in what was then Viipuri (it becameVyborg after Soviet annexation in 1944), is acclaimed for its stunning ceiling, with its undulating waves of red-hearted pine (which grows in the region ).[43] In his roofing, he created massive spans (155-foot at the covered stadium atOtaniemi), all without tie rods. In his stairway at Villa Mairea, he evokes the feeling of a natural forest by binding beech wood with withes into columns.[44]
Aalto claimed that his paintings were not made as individual artworks but as part of his process of architectural design, and many of his small-scale "sculptural" experiments with wood led to later larger architectural details and forms. These experiments also led to a number of patents: for example, he invented a new form of laminated bent-plywood furniture in 1932 (which was patented in 1933).[1] His experimental method had been influenced by his meetings with various members of theBauhaus design school, especiallyLászló Moholy-Nagy, whom he first met in 1930. Aalto's furniture was exhibited in London in 1935, to great critical acclaim. To cope with the consumer demand, Aalto, together with his wife Aino,Maire Gullichsen, and Nils-Gustav Hahl founded the companyArtek that same year. Aalto glassware (Aino as well as Alvar) is manufactured byIittala.
Aalto's 'High Stool' and 'Stool E60' (manufactured byArtek) are currently used inApple Stores across the world to serve as seating for customers. Finished in black lacquer, the stools are used to seat customers at the 'Genius Bar' and also in other areas of the store at times when seating is required for a product workshop or special event. Aalto was also influential in bringingmodern art to the attention of the Finnish people, in particular the work of his friendsAlexander Milne Calder andFernand Léger.[13]
KUNSTEN Museum of Modern Art Aalborg, Denmark (1958–72)Church of Santa Maria Assunta, Riola ofVergato, Italy, designed in 1966 and built 1975–1978. Photo byPaolo Monti, 1980.Table and chairs designed by Alvar AaltoTea cart (tea trolley)Armchair 400 withreindeer fur
As mentioned above, Aalto's international reputation was sealed with his inclusion in the second edition ofSigfried Giedion's influential book on Modernist architecture,Space, Time and Architecture: The growth of a new tradition (1949), in which Aalto received more attention than any other Modernist architect, includingLe Corbusier. In his analysis of Aalto, Giedion gave primacy to qualities that depart from direct functionality, such as mood, atmosphere, intensity of life and even national characteristics, declaring that "Finland is with Aalto wherever he goes."
More recently, however, some architecture critics and historians have questioned Aalto's influence on the historical canon. The Italian Marxist architecture historiansManfredo Tafuri andFrancesco Dal Co contend that Aalto's "historical significance has perhaps been rather exaggerated; with Aalto we are outside of the great themes that have made the course of contemporary architecture so dramatic. The qualities of his works have a meaning only as masterful distractions, not subject to reproduction outside the remote reality [sic] in which they have their roots."[62] At the heart of their critique was the perception of Aalto's work as unsuited to the urban context: "Essentially, his architecture is not appropriate to urban typologies."
At the other end of the political spectrum (though similarly concerned with the appropriateness of Aalto's formal language), the American cultural theorist and architectural historianCharles Jencks singled out his Pensions Institute as an example of what he termed the architect's "soft paternalism": "Conceived as a fragmented mass to break up the feeling of bureaucracy, it succeeds all too well in being humane and killing the pensioner with kindness. The forms are familiar – red brick and ribbon-strip windows broken by copper and bronze elements – all carried through with a literal-mindedness that borders on the soporific."[63]
During his lifetime, Aalto faced criticisms from his fellow architects in Finland, most notably Kirmo Mikkola andJuhani Pallasmaa. By the last decade of Aalto's life, his work was seen as unfashionably individualistic at a time when the opposing tendencies of rationalism and constructivism – often championed under left-wing politics – argued for anonymous, aggressively non-aesthetic architecture. Of Aalto's late works, Mikkola wrote, "Aalto has moved to [a] baroque line..."[64]
Alvar Aalto portrayed on a stamp published in 1976
Aalto was featured in the 50 mk note in the last series of theFinnish markka (before its replacement by theEuro in 2002).
The centenary of Aalto's birth in 1998 was marked in Finland not only by several books and exhibitions, but also by the promotion of specially bottled red and white Aalto Wine and a specially designedcupcake.
In 1976, the year of his death, Aalto was commemorated on a Finnish postage stamp.
Piazza Alvar Aalto, a square named after Aalto, can be found in the Porta Nuova business district of Milan, Italy.
An Alvar Aallon katu (Alvar Aalto Street) can be found in five different Finnish cities: Helsinki, Jyväskylä, Oulu, Kotka and Seinäjoki.
In 2017, the Alvar Aalto Museum launched Alvar Aalto Cities, that is, a network of cities containing buildings by Alvar Aalto.[65] The objective of the network is to increase awareness of Aalto's work both in Finland and abroad. It is hoped that by combining forces on communications and marketing, the visibility and accessibility of exhibitions, tourist attractions and events will be improved. To date, the network city members are: Aalborg, Alajärvi, Espoo, Eura, Hamina, Helsinki, Imatra, Jyväskylä, Järvenpää, Kotka, Kouvola, Lahti, Oulu, Paimio, Pori, Raseborg, Rovaniemi, Seinäjoki, Turku, Vantaa and Varkaus. It is estimated that in total there would be 40 cities worldwide that would qualify as an Alvar Aalto City.
Boyce, Charles (1985). "Aalto, Hugo Alvar Henrik (1899–1976)".Dictionary of Furniture. New York, NY: Henry Holt and Co.ISBN0-8050-0752-0.
Brown, Theodore M. (1969). "Alto, Hugo Alvar Henrik". In Myers, Bernard S. (ed.).McGraw-Hill Dictionary of Art. Vol. I: AA-Ceylon. New York, NY: McGraw-Hill Book Company.LCCN68026314.
Chilvers, Ian, ed. (2004) [1988]. "Aalto, Alvar".The Oxford Dictionary of Art (3rd ed.). Oxford, UK: Oxford University Press.ISBN0-19-860476-9.
Enckell, Ulla (1998).Alvar Aalto: Taiteilija – Konstnären – The Artist. Helsinki: Amos Anderson Museum.ISBN952-9531-25-7.
Heporauta, Arne (1999).Alvar Aalto: Arkkitehti / Architect 1898–1976 (in Finnish) (1st ed.). Helsinki, Finland: Rakennustieto.ISBN951-682-546-X.
Eisenbrand, Jochen, ed. (2014).Alvar Aalto – Second Nature. Weil am Rhein: Vitra Design Museum.ISBN978-3-931936-93-8.
Laaksonen, Esa, ed. (2008).Maison Louis Carré 1956-61: Alvar Aalto Architect Volume 20. Helsinki: Alvar Aalto Foundation.ISBN978-952-5371-43-7.
Labò, Mario (1968) [1959]. "Aalto, Hugo Alvar Henrik". In Crandall, Robert W. (ed.).Encyclopedia of World Art. Vol. I: Aalto-Asia Minor, Western. New York, NY: McGraw Hill Book Company, Inc.LCCN59013433.
McCarter, Robert (2006).Frank Lloyd Wright. London: Reaktion Books.ISBN978-1-86189-268-3.
Mikkola, Kirmo (1969). "Suomalaisen arkkitehtuurin ajankohtaista pyrkimyksiä".Arkkitehti (in Finnish).66:30–37.
Paatero, Kristiina, ed. (1993).The Line – Original Drawings from the Alvar Aalto Archive. Helsinki: Alvar Aalto Foundation.ISBN951-9229-81-7.
Paavilainen, Simo, ed. (1982).Nordisk Klassicism – 1910–1930 [Nordic Classicism]. Helsinki: Museum of Finnish Architecture.ISBN951-9229-21-3.
Pallasmaa, Juhani (1998).Alvar Aalto: Villa Mairea 1938–39 (2nd ed.). Ram Pubns & Dist.ISBN978-952-5371-31-4.
Pelkonen, Eeva-Liisa (2009).Alvar Aalto: Architecture, Modernity, and Geopolitics. New Haven, CT: Yale University Press.ISBN978-0-300-11428-7.
Schildt, Göran (1994).Alvar Aalto, A life's work: Architecture, Design and Art. Helsinki, Finland: Otava Pub. Co.ISBN978-951-1-12975-2.
Suominen-Kokkonen, Renja (2007).Aino and Alvar Aalto – A Shared Journey – Interpretations of an everyday modernism. Helsinki: Alvar Aalto Foundation.ISBN978-952-5371-32-1.
Tafuri, Manfredo; Co, Francesco Dal (1976).Architettura contemporanea [Modern Architecture] (in Italian). Milan: Electa.
Göran Schildt has written and edited many books on Aalto, the most well-known being the three-volume biography, usually referred to as the definitive biography on Aalto.
Schildt, Göran (1987).Alvar Aalto. The Decisive Years. New York, NY: Rizzoli.ISBN978-0-8478-0711-6.
Schildt, Göran (1991).Alvar Aalto. The Mature Years. New York, NY: Rizzoli.ISBN978-0-8478-1329-2.
Alvar Aalto Archive Staff (1994).The Architectural Drawings of Alvar Aalto 1917–1939: Aalto's Own Home in Helsinki, the Finnish Pavilion at the 1937 World's Fair in Paris, and Other Buildings and Projects, 1932–1937. Garland Architectural Archives. Routledge.
Schildt, Göran (1994).Alvar Aalto: The Complete Catalogue of Architecture, Design and Art. New York, NY: Rizzoli.ISBN978-0-8478-1818-1.
Pearson, Paul David (1978).Alvar Aalto and the International Style. New York: Whitney Library of Design.ISBN0-8230-7023-9.
Porphyrios, Demetri (1982).Sources of Modern Eclecticism. St. Martin's Press.ISBN978-0-312-74673-5.
Pallasmaa, Juhani (1985).Aalto: Alvar Aalto Furniture. MIT Press.ISBN978-0-262-13206-0.
Mikkola, Kirmo (2025). Pallasmaa, Juhani (ed.).Alvar Aalto in the Finnish Context. London: Routlegde.ISBN978-1-032-93956-8.
Korvenmaa, Pekka; Treib, Marc (2002). Reed, Peter (ed.).Alvar Aalto: Between Humanism and Materialism. New York, NY: The Museum of Modern Art.ISBN978-0-87070-107-8.
Quantrill, Malcolm (1983).Alvar Aalto: A Critical Study. Secker & Warburg.ISBN0-941533-35-2.
Ruusuvuori, Aarno, ed. (1978).Alvar Aalto 1898–1976. Helsinki, Finland: The Museum of Finnish Architecture.ASINB0000ED4GS.
Jormakka, Kari; Gargus, Jacqueline; Graf, DouglasThe Use and Abuse of Paper. Essays on Alvar Aalto. Datutop 20: Tampere 1999.
Fiell, Charlotte; Fiell, Peter (2005).Design of the 20th Century (25th anniversary ed.). Köln: Taschen. pp. 12–17.ISBN9783822840788.OCLC809539744.
Aalto research
The extensive archives of Alvar Aalto are nowadays kept at theAlvar Aalto Museum, Jyväskylä, Finland. Material is also available from the former offices of Aalto, at Tiilimäki 20, Helsinki, nowadays the headquarters of theAlvar Aalto Foundation.
Since 1995 the Alvar Aalto Museum and Aalto Academy has published a journal,Ptah, which is devoted not only to Aalto scholarship but also to architecture generally as well as theory, design and art.
.jpg)
_-_BEIC_6353784.jpg)
.jpg)
