Aalto, Alvar( 1898 – 1976 )
Preliminary studies for Finlandia Hall, Helsinki, 1962 / 1967 – 1971 , 1973 – 1975, The Alvar Aalto
Museum/Drawing Collection, 30 75 cm, Pencil on tracing paperAlvar Aalto, a Finnish architect first influenced by the international style, created an architecture com-
bining modern and vernacular. Interpreting Aalto’s approach, Winfried Nerdinger describes his archi-
tecture in terms of ‘human functionalism’, where the work was less about ‘formal, economic or
constructional constraints’ and more concerned with human purposes (Nerdinger, 1999 , p. 15 ). Much
of this approach integrated Finnish cultural identity, and acquired undulating, fluid forms, particularly
when viewed in plan.
Aalto began his architectural observations in the small town of Jyväskylä. He completed his formal
education in architecture at the Helsinki Technical University in 1921. Initially traveling to
Stockholm, he began his internship with Arvid Bjerke in Gothenberg. His first major commission
came when he won first prize for the Southwestern Agricultural Co-operative Multiuse Building
Competition. The Co-operative was constructed between 1927 and 1929 , and another important
competition success followed in 1929 with the Tuberculosis Sanatorium in Paimio. He became known
in the international arena through his design of the Finnish Pavilion at the World Exposition in Paris
( 1937 ) and the Finnish Pavilion at the New York World’s Fair ( 1939 ) (Pearson, 1978 ; Schildt, 1989 ;
Nerdinger, 1999 ). Other important projects include: Villa Mairea ( 1938 – 1939 ); Baker House, Senior
Dormitory at MIT ( 1946 – 1949 ); Säynätsalo Town Hall ( 1951 – 1952 ); University of Technology in
Otaniem ( 1955 – 1964 ); Opera House at Essen ( 1959 – 1961 ); and Finlandia Hall, Helsinki ( 1967 – 1971 ).
The extensive archive of Aalto’s drawings and sketches reveals his unique hand. Besides the light
touch and fluid lines, these lines show strong ending points, as if he was hesitating before removing
the pencil from the surface or was reinforcing prominent edges. He entered a dialogue with the
images, as they contain notes, calculations, and, in many instances, have been oriented from numer-
ous directions. This immersion in the conversation through the sketch also shows marks where he
rested the pencil or prodded the sketch for emphasis. Aalto frequently strengthened important walls
or boundaries by continually drawing over his lines. The sketches suggest that he held the drawing
instrument so loosely that the image appeared to be articulated independent of his hand. This tech-
nique gives the sketches a lively, pulsating quality, that could be compared to a Ouija board, where
the light touch enables the line to take on a life of its own.
This early sketch for Finlandia Hall (Figure 7. 12 ) demonstrates Aalto’s design process, describing
the indirect flow of spaces and the non-geometric theme of his mature work (Fleig and Aalto, 1995 ;
Schildt, 1989 ). Alternating between section and plan, this sketch has been crowded with calculations
and partially complete forms. The lower section drawing addresses Aalto’s concern for the acoustic
qualities of the auditorium in profile. The undulating form of the ceiling also anticipates construction
issues. The remainder of the page has been strewn with partial design beginnings, possibly rejected as
unpromising directions. The intensely worked plan and section indicate Aalto’s absorption in his
design process. To animate is to inspire or endow with life. It can also mean to breathe life into or put
into motion. Aalto’s repeated lines tend to give his sketches a nervous animation suggesting his inter-
action with the project as a living being. Its liveliness reflects the constant motion of his hand and also
breathes life into the future building.H5719-Ch07.qxd 7/15/05 3:47 PM Page 191