eindhoven university of technology master the architect and the book the personal library of

Eindhoven University of Technology

MASTER

The architect and the bookthe personal library of Alvar Aalto designed as architectural portrait

Dütz, Y.

Award date:2016

Link to publication

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YVO DÜTZ0874322

THE ARCHITECT AND THE BOOKTHE PERSONAL LIBRARY OF ALVAR AALTODESIGNED AS ARCHITECTURAL PORTRAIT

The aim of this design research is to address the decline of the library as an important tool in the education of architects. a decline that is present because of the rapid digitalisation of current society and that poses a threat to the traditional values of a library. Answers to this question lie with the personal libraries of architects that are designed to house their accumulated collections of books and architectural artefacts. The essence of the new design is to create a piece of architecture that not only benefits the collection but also engages its user through architectural means. In order to create a suitable design, it is therefore based on three fundamental components: (1) the values found in the case studies of Sir John Soane and Oswald Mathias Ungers, (2) the character of Alvar Aalto, being the subject of the new library, and (3) the understanding and application of an architectural portrait as design method. The case studies of the Sir John Soane Museum and Ungers Archive for Architecture Science serve as a starting point of this research. Aspects like the use of daylight, atmospheric quality, and spatial organisation, provide abstracted values of a library. However, the essential ingredient that sets these libraries apart from others, is the character of these architects This aspect is therefore imperative to create a proper new library for architecture. The libraries of Soane and Ungers serve as a manifesto regarding their architectural position and it is therefore that the architecture becomes part of the collection presented in the library. Alvar Aalto’s convictions on Human Functionalism that preserve the needs of the human being as the primary role of architecture, and his personality that suits this provide a context to which his design aspects can be related. The architectural aspects by which the case studies are analysed reveal that Aalto has a similar approach and understanding of what is required of a proper library. Similar to the pictorial and literary portrait, the intent of the new design is to provide insight into the architectural essence by means of highlighting external characteristics. This method requires the distinction between a citation that copies elements, an adaptation that uses adjusted elements to

THE ARCHITECT AND THE BOOK|SUMMARY

graduation studio INTERACTIONSEindhoven University of Technology

create the same effect, and an addition of overall values independent of Aalto. The citations consist of his use of gentle atmospheres by using light material and skylights, and overall spatial organisation. Adaptations are made of his undulating surface designs in wall and ceiling, and bookcase design. Additions relate to the abstracted concepts of the case studies of inward oriented spaces, and the movement of space through visual and direct connections. The result is a design that showcases the essence of Alvar Aalto and consequently illustrates that by characterising an architectural library, the connection between student and collection of architecture is preserved and encouraged.

THE ARCHITECT AND THE BOOKthe personal library of Alvar Aalto designed as architectural portrait

Yvo Dütz0874322Eindhoven, 2016


supervisorsprof.dr. B.J.F (Bernard) Colenbranderir. R.R.W.I. (Renato) Kindtir. W. (Wouter) Hilhorst

Eindhoven University of TechnologyDen Dolech 25612 AZ Eindhoven

Interactions © July 2016

THE ARCHITECT AND THE BOOK|TABLE OF CONTENTS

PREFACE 9

I INTRODUCTION 10 Problem statement Research method

II CASE STUDIES 16 Sir John Soane Museum Ungers Archive for Architecture Science

III DESIGN CONCEPTS 30 Case studies Themes

IV ALVAR AALTO 40 Architectural position The man The collection Design principles

V ARCHITECTURAL PORTRAIT 54 Portraits Alvar Aalto

VI THE LIBRARY 76 Location Exterior Interior Floor plans Façades Sections Details

VII CONCLUSION 114 Research question

BIBLIOGRAPHY 118

THE ARCHITECT AND THE BOOK|PREFACE

9

As part of the MSc of Architecture Building and Planning and in order to develop ourselves into architects that are ready to take on the challenges of professional work, we are required to do a graduation design research for a theme of our architecture of our choosing. The report that lies before you is the effort of a year’s worth of work of investigating possible architectural solutions for the decline of the library as a teaching tool in the education of the architect, within the context of graduation studio INTERACTIONS. I would like to take this time to thank everyone that has supported me throughout this year and has assisted me in the successful conclusion of this design research. To the tutors Bernard Colenbrander, Wouter Hilhorts, and Renato Kindt I would like to express my deepest gratitudes for their constructive criticism that pushed this research ahead. I wish to thank my mother and girlfriend for their tremendous moral support and proofreading of my report. And I would like to thank my housemates who helped me challenge the standard of what the research should be.

Yvo Dütz, July 2016, Eindhoven

INTRODUCTIONI

11

The library: the architectural manifestation of human knowledge as old as recorded history; a universe that would hold the treasures of man’s achievements to progress into civilization.

graduation studio INTERACTIONSEindhoven University of Technology12

[1] Seneca (1959), De tranquillitate animi ix 4-7[2] Abram, & Luther (2004), p. 1

INTRODUCTION|PROBLEM STATEMENT

Libraries have been a part of society and the transfer of knowledge from the time we as a species began to document and record our intelligence. The first libraries were created to be archives; places that stored the first pieces of writing and objects that held significance in the then present form of human culture. Today, these archives provide us with insight in the cultures of many of these ancient or classical civilizations. As such, libraries soon developed to be more than an archive: they became accessible to society and started to play a key part in the education of the people. In the early Greek times, private or personal libraries consisting of written books, as opposed to state or institutional records, began to appear and procure a place in the houses of the sophisticated:

“...by now, like bathrooms and hot water, a library is got up as standard equipment for a fine house.”[1]

- Seneca, AD 63

This development continued throughout time and the library as an establishment evolved further and further into the many shapes and forms it has today; from academic libraries used in education, to public libraries that not only contain educational sources but also fictive writings. Though many libraries today do provide facilities within their walls, such as quiet study spaces or eating establishments, the process of lending and digitalization of sources affects the way society interacts with the library and how they are designed. As such, in the current age a trend exists of decline to the value of libraries as entities that provide the quality of learning through books and other source material. The internet now grants the possibility to find and read almost anything in a much faster and easier way. This has come to play a major role in the way society is educated and libraries face quite a number of challenges in order to keep up with these new ways of information seeking, which may stress convenience over quality.[2] These new and fast ways of information

[3] Nippold, Duthie, & Larsen (2005), p. 1[4] Naisbitt (1982), p.

gathering are particularly attractive to the younger generation of our society.[3]

“We are drowning in information but starved for knowledge.”[4]

- John Naisbitt, 1982

With this progression of technology one might ask whether physical libraries still hold promise in the years to come. Though it can be argued that the library will remain and just alter its form, the interaction with physical material diminishes and is on course to become a stale relic of the past.

Architecture is of course a key component in the construction of libraries. Also, in the field of architecture evident in a field of architecture, particularly in libraries on university campuses as they often do not solely serve the department of architecture. Because architectural education no longer puts enough emphasise on the library as teaching tool, the academic libraries have become generic in order to accommodate as many people as possible, instead of focusing on how the library can convey the quality of knowledge that lies within. With further investigation a research question can be derived that proposes results that would help solve this problem of decline by addressing the architecture:

WHAT DOES A NEW LIBRARY FOR ARCHITECTURE LOOK LIKE, WHEN FOCUSING ON CONSERVING AND ENCOURAGING THE TRADITIONAL WAY OF LEARNING THROUGH PHYSICAL MATERIAL?

13


As the decline of the library poses a problem concerning the education of an architect, it is understandable that architecture can also solve this problem. When looking at the past endeavours of architectural design created to house and instrumentalize a collection of knowledge, there are numerous of brilliant libraries that can be considered the corner stones of library design. These libraries - such as the library of the Palace of Mafra (1717-30) by João Frederico Ludovice, and the more recent Beinecke Library in New Haven (1963) by SMO – show a remarkable insight into the essentials of a library and a strong sense of architectural prowess in their respective times and styles. Though when observing libraries for architecture, a unique kind of library comes to the fore: namely, the personal collections of architects, laid bare in their own domestically designed libraries.

Two architects in particular, take the spotlight of designing a place of display and devotion to their amassed collection of books and artefacts: Sir John Soane and Oswald Mathias Ungers. Their residences are respectively called the Sir John Soane Museum (1837), and the Ungers Archive for Architecture Science (1958). These sanctuaries hold great value to an architect’s training and professional education in both design and collection. Because of this, these two examples will serve as the starting point for this research. These are examined as case studies to determine their place in architecture and overall design qualities, so that a set of principles can be concluded. These

INTRODUCTION|RESEARCH METHOD

fig. 1 Mafra Library

fig. 2 Beinecke library

14

principles do not only benefit the architecture of the two, but also provide elements fitting a new design for a library of architecture. Apart from the principles, the case studies present an overwhelming aspect that embraces the essence of the personal universe: namely the person, the architect.

In order for this research to reach a conclusion befitting of the question posed, and a design that does not fall flat in comparison to the case studies, a persona needs to take the centre stage: Finnish architect Alvar Aalto. The personality and body of work of this architect will be the main focus of the design that follows. The research will discuss Aalto’s position in architecture and his possible collection, for it to reflect in the design. This will then be concluded by design principles that are found most fitting for a personal library of Aalto. Before designing a library based on the principles derived from Alvar Aalto, a critical question of method as to how these principles are to be used needs answering. If the case studies can be considered to be architectural self-portraits of their creators, then it is necessary to determine what the nature of an architectural portrait is and how such a portrait is to be designed. The latter question is particularly interesting when the architect in question is not the designer. Elements of the design that are related to the research are highlighted to establish a methodical connection between the library and Aalto. Once this question is answered, the design for the completed library is presented and explained by way of drawings and images.

15

CASE STUDIESII

17

In order to assess the values of a library being a collection of architecture, the two prime examples of personal universes from Sir John Soane and Oswald Mathias Ungers will be further examined and discussed. The research will focus on their libraries, their respective positions within architecture and the relation between their oeuvre and their universes. This will result in conclusions drawn from their design choices and intentions, that can then be used in further research.


[5] Bradbury (2015), p. 408[6] Sir John Soane’s Museum (2001), p. 86

CASE STUDIES|SIR JOHN SOANE MUSEUM

Sir John Soane (1753 – 1837) is recognised as one of the most respected and influential architects of his age. As an architect and teacher, his fifty years of practice produced a body of work which has been a continuous inspiration to architects of today. His best-known work is that for the Bank of England. Though most of his work there being destroyed, his design has had lasting effect on the architecture for commercial buildings. Soane’s design for the Dulwich Picture Gallery, built in 1814, has gained international acclaim regarding spatial planning and its ingenious way of displaying paintings with the use of superior top-lighting.[5] Even though his designs have granted him wide spread appreciation, the piece of oeuvre that is the focus in this research is his all-time master piece: the personal universe he created for his collection of artefacts of art and architecture at Lincoln’s Inn Field, London.

SIR JOHN SOANE MUSEUMSoane accumulated over the course of his career an extensive collection of books, manuscripts, architectural drawings, paintings, sculptures, and other works related to the field of architecture and art.[6] In 1792 Soane purchased a house at 12 Lincoln’s Inn Fields, London, to be used as his own residence and architectural practice. In the years following Soane demolished the existing property and rebuilt it. In 1807 Soane expanded his residence by purchasing the house next door at No. 13. At first the previous owner remained to live in the fore house, as Soane used the stable area across the rear of the site to begin his construction of a museum area to mark the beginning of his personal

fig. 3 façade of Lincoln’s Inn Fields 12-14

18

1837

universe. And on 14 October 1823, Soane expanded his premises again by buying 14 Lincoln’s Inn Fields.

In a publication made by close friend and antiquarian John Britton called The Union of Sculpture, Architecture and Painting, he explains and describes the aim of Soane’s architecture and what he believed to be fundamental aspects of the proper education of architects. Though there are many other museums that would be able to house a collection as the one residing in the Soane Mansion,

fig. 4 floor plan overview of Museum transformation

1796 1822

1810

19


[7] Britton (1827), p. 2[8] Soane, Richardson, Stevens, & Royal Academy of Arts (2000), p. 150[9] Soane, Richardson, Stevens, & Royal Academy of Arts (2000), p. 27-28[10] Soane, Richardson, Stevens, & Royal Academy of Arts (2000), p. 29

very few can rival the enchanting scenes created by its interior architecture.[7] What sets Soane’s Museum apart is his intricate way of creating spaces around the collection so that the architecture and the collection harmonise to become more than just an exhibition. In November 1812, the European Magazine gave credit to the, by then already highly revered, collection of artefacts that Soane had accumulated and put on display in his own residence by referring to it as an ‘Academy’ of architecture.[8]

ARCHITECTURAL POSITIONFrom surviving drawings and writings, it can be said that Soane aimed to succeed as an architect in a grand and classical manner. For this he presented many designs for large scale buildings over the course of his career. Though he desperately wanted, he failed in grasping the context of academic planning and was judged for his attempt at classical tradition. But it is not by this that he should be judged. Classical architecture emphasises form, whereas he stressed space and arrangements entirely foreign to classic tradition. It is Soane’s interiors that have granted him the fame he has today.[9] This arrangement of space and mastery of interior scenery is evident in his design for the Bank of England, which he worked for four centuries on. Here he creates a demanding arrangement of space that is not by any means classical - a feature it shares with a multitude of his designs, including his Museum.[10]

During his lifetime, Soane made it an effort to not collect for his own sake, but also for those studying architecture. In a lecture following his appointment as professor at the Royal Academy of Architecture in 1806 he expressed that he

fig. 5 floor plan Bank of England

20

[11] Watkin & Sir John Soane Museum (1999), p. 579[12] Soane, Richardson, Stevens, & Royal Academy of Arts (2000), p. 150

‘began to arrange the books, casts and models in order that the students might have the benefit of easy access to them’[11]. In one of his lectures on the 6th of January 1812, he told his students that the day before and after each of his lecture he would open the doors to his house for them to inspect and the drawings and pieces of his collection.[12]

POSITION - MUSEUMSoane’s love for the picturesque, his mastery of small enclosed spaces, and his extremely well developed understanding of theatrical and spatial effects in

fig. 6 library towards the street

21


fig. 7 ground floor Soane Museum

architecture, are perfectly captured within this house. Though small in size, this piece of architectural heritage represents all that Soane stood for; not only his position in the history of architecture, but also his entire understanding of the profession as a whole. This is evident in the way Soane presented his Museum to the architectural community during his time, and used it as a tool for teaching the younger generations of architects. The museum is a work of architecture worthy of its status of ‘one of the most celebrated buildings in the history of architecture’.[13]

12

0 2m 10m4m

[13] Soane, Richardson, Stevens, & Royal Academy of Arts (2000), p. 156

22

13

10

fig. 8 basement Soane Museum

fig. 9 first floor Soane Museum

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[14] Lepik, & Staatliche Museen zu Berlin (2006), p. 88

Oswald Mathias Ungers (1926 – 2007), also commonly referred to as ‘OMU’ by those he worked with, was an architect most noticeably known for his rationalist design and use of cubic forms, as well as his established and influential contribution to the field of architectural theory. Among his works are a few well-known museums, such as the interior of the German Architecture Museum in Frankfurt (1984) that is designed as a ‘house within a house’[14], and quite a few residential buildings, particularly the Haus ohne Eigenschaften (1994-95) he built for himself in Cologne which is to represent his attempt at creating a house in its purest of forms. A large part of his legacy is the house on Belvederestraße 60 in Cologne-Müngersdorf, in which the Archiv für Architekturwissenschaft (English: Archive for Architecture Science) currently resides.

CASE STUDIES|UNGERS ARCHIVE FOR ARCHITECTURE SCIENCE

fig. 10 Belvederestraße 60

24

[15] Ungers, Pehnt, & Edition Axel Menges GmbH (2016), p. 7[16] Lepik, & Staatliche Museen zu Berlin (2006), p. 56

UNGERS ARCHIVThe Archiv für Architekturwissenschaft is the foundation, founded by the late Oswald Ungers himself and his wife, that supervises and preserves the collection of art and architecture that he had gathered throughout his lifetime. This collection is housed in the residence that shares its various functions with the museum of Soane. As Ungers designed and built his residence, he made it clear it was not only meant to house his impressive collection of books and other materials but it was also ‘a laboratory to gain spatial experience and explore what was possible’. [15]

Ungers designed his first personal residence quite early in his career in 1959, when he had only been practising architecture for eight years. This ‘cosmos of architecture’ that he created for himself consisted of a front house built in red brick, to which he later added a library cube that holds his exquisite collection of books. It is the residence that has played a special role in Ungers’ life, as it was his ‘hermitage, think-factory, and treasury for his book collection’.[16]

ARCHITECTURAL POSITIONThere is no other post-war German architect that has considered the bases of architecture as thorough and detailed as Oswald Mathias Ungers. His strong engagement with the visual arts has been evident in his architecture, as his designs for the Badische Landebibliothek in Karlsruhe (1983-91) and the renovation of the Düsseldorf Hypo-Bank (1990) display concepts that integrate the essence of architecture and art into a single design.

fig. 11 interior library cube

25


[17] Lepik, & Staatliche Museen zu Berlin (2006), p. 22 [18] Zeidler (2013), p.

“There is no such thing as the Kunst aum Bau theory. In its place, instead, is the dailogue between art and architecture, their correspondences and analogical connections.”[17]

- Oswald Mathias Ungers, 1999

Ungers viewed architecture as a pure form of art, as he states that function and construction are not the masters of architecture, but mere slaves of an emotional idea - namely, the form- which originates from the mind and heart, not from concrete or steel.[18] This concept led his designs to be a search for the essence of architecture, in which form and geometry are the key architectural principles. With this concept in mind he had developed a language of architecture that follows a path of rigorous abstraction in order to comply to the rationalist ideal of revolutionary architecture.

“I am not seeking some particular formal content, Instead, I concentrate decisively on an elementary language of forms. The clarity, unambiguity and asceticism of basic geometric forms, the strong presence of simple bodies and volumes, the unambiguous demarcation of space...”[19]

- Oswald Mathias Ungers, 1998

The development of rationalism has thus become a well-known aspect of his architecture.

POSITION - ARCHIVUngers as an architect has repeatedly embarked on the adventure of building his personal residences as a means to explore the possibilities of architecture. For him, building his own houses meant doing research in applied

fig. 12 exterior Badische Landesbibliothek

26

[19] Ungers (1998), p. 10 [20] Ungers, Pehnt, & Edition Axel Menges GmbH (2016), p. 15

housing construction and being able to share his concept of a house with his contemporaries. The house on Belvederestraße is therefore designed to serve as a manifesto. The house represents Ungers experimentation with architecture as the original design became a style icon of the Brutalist movement[20], whereas the later added Library Cube adheres to his search of purity in simple geometric forms.

fig. 13 interior exposition space

27


fig. 14 ground floor Belvederestraße

fig. 15 basement Belvederestraße

28

29

fig. 16 first floor Belvederestraße

fig. 17 second floor Belvederestraße

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DESIGN CONCEPTSIII

31

This chapter focuses on the design concepts that can be derived from the research in the previous chapter. These design concepts are constructed by observing the differences and similarities between two case studies and discovering which values their designs hold, in order to obtain guidelines for the design of a library.


DESIGN CONCEPTS|CASE STUDIES

Now that the two case studies have been introduced and discussed through literature and drawings, this chapter serves to elaborate on the design aspects of Soane’s Museum and Ungers’ Archive by means of illustrations and photographs. The following aspects will be discussed:

• use of daylight• atmospheric quality of spaces• spatial organisation• character

These aspects will result in principles that will aid in creating design concepts as a conclusion to the case studies.

USE OF DAYLIGHTDaylight and the way it is directed is a very evident aspect in both Soane and Ungers their personal libraries. Whereas both buildings have windows in the vertical planes facing outwards as well as inwards, they also show great mastery of the use of skylights. Soane’s oeuvre specifically, consists largely of using skylights to create theatrical spatial effects. It is then not out of the ordinary to expect these same effects in his own residence. This mastery is evidenced by the Breakfast Room in the centre of the building, a room expected to be the darkest is made especially light by the cupola of coloured glass that sits on top and the countless mirrors that reflect the light coming in. But it can be argued that both architects recognised the value in presenting their collections with the use of skylights, as Ungers

fig. 18 breakfast room Soane

33

also shows in his library cube and space for architectural models. The four rectangular skylights in the cube present the centre of the library with a diffuse area of light, as well as add to the geometric composition of the ceiling. Whereas the area surrounding the cube has a narrow and low stroke of a glass roof that floods the space and collection as if it was outside.

By positioning the daylight openings in the roof and through the carefully considered orientation of the glass, the sunlight that enters is of a diffuse nature that allows for the even distribution of light on the area below. In this way, the collection can be regarded without the interference of the changing position of the sun and shadow, only the intensity will vary depending on the outside lighting conditions. This design choice can also be traced back to the nature of the two residences, as they are both examples of houses confined to a plot in between other houses. Which leads to the possibility of expanding being limited to the plot size, and orientation towards the street, namely towards the back of the plot. In order to still let natural light enter the deepest parts of the building, skylights are the obvious choice.

The diagrams in figure 20 show how the skylights are related to the section and the spaces below. In both cases the section also presents the

fig. 19 space beside library cube Ungers

fig. 20 diagram different skylights


notion of using several different forms of skylights to accommodate for the difference in spaces and parts of the collections presented.

ATMOSPHERIC QUALITY OF SPACESIn the designs of these personal residences, the spaces and their atmosphere are of great importance. Though the architects are from different times and use different styles in their designs, when comparing the two it can be seen that they approach the design of the spaces: in a similar way: the spaces are of an introverted character and have a strong individuality.

By removing all or most exterior influences, and creating inwards spaces, the architect establishes an intimate and personal relation with the collection. This character is also strengthened by the use of skylights as they allow for light to enter without enabling an interfering visual relation with the outside. This is quite evident in the design of Ungers his architectural model space. Two long, white, and mostly closed walls surround the pedestals used to display the models on, with the only connection to the outside being the triangular roof structure topped with glass. Soane does this as well in the most back portion of residence that once started as the actual museum. In this space he created a colonnade and a void, while the walls are covered with artefacts and the room is guided by light from above.

fig. 21 model space Ungers

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This character of Soane’s and Ungers’ spatial design leads to another quality they share: the individuality of spaces. Whereas library or museum design is commonly catered to a collection that houses mostly one kind of artefacts, be it books or paintings, the architectural collection incorporates a wide variety of artefacts and materials. As these kinds of material require different ways of presenting in order to achieve the best possible outcome. The designs of Soane and Ungers highlight these differences and create the specific atmosphere. Soane illustrates this in his Picture Room, where he has devised a system of pivoting walls. This enables the room to have the equivalent wall space of a much larger gallery. In his model room the piece of furniture shown in figure 24 is what Soane designed specifically to display certain models on, and this reinforces the individual treatment that Soane established. In the work of Ungers this individuality is

less obvious though still present. His library cube is a black and white, rigid form that is designed to bring out the best of his collection of books. Though the rest of the spaces in the house have a sort of continuity to their atmosphere, the space in the later established addition are more strictly divided.

SPATIAL ORGANISATIONWhen discussing the spatial organisation of the case studies, the research will shed light on the connection between spaces. The diagrams shown in figure 25 and 26 try to establish an understanding of this aspect in the floor plan. This

fig. 23 model space Soane

fig. 22 picture room Soane


connection is a valid aspect when associated with the individuality of spaces.

Soane’s architecture is tightly connected to this sense of spatial organisation. The arrangement of spaces cannot be traced back to the separation of a front house and back house (stables) by a garden area, which is quite common in the Georgian town house style, because Soane demolished and fully rebuilt the buildings. As such, most of his spaces are strictly divided and only reachable through narrow doorways. This compactness also has implications for the spatial quality of the rooms. Though, in his Museum he makes use of a certain ‘special’ in-between space to indicate a transition from one space to the next. This comes in the form of either a reception space or the void of the doorway. With this organisation Soane does create certain sight-lines that enable views to pass through multiple spaces, yet have the individual characters remain noticeable. In the library cube of Ungers, this form of visual connection is also exploited. On the ground floor of the library there are openings in the exterior that lead to the space surrounding the cube. These are not only used as doorways but also to reveal the paintings that are hung on the wall and the busts that are carefully placed in the centre of these openings. As such, the specific entering of daylight mentioned before is also seen from within.

fig. 24 diagram spatial organisation Soane

fig. 25 diagram spatial organisation Ungers

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[21] Bradbury (2015), p. 335

CHARACTERThe two libraries can be seen as prime examples of how a personal collection of architectural works and art can be presented for personal gain and professional development. This is mainly due to the overwhelming amount of character that is imbued into the design. Both cases are a built manifesto, a treatise on architecture that is not meant to be read but experienced in both visual and physical manner. It is for this reason that the architecture of the library has become part of its collection.

In the case of Soane’s Museum, the appearance of the Breakfast Room with its domed ceiling, dubbed by theorists as a ‘Soanian dome’[21], is a clear example of Soane’s mastery of the horizontal plane and tinted windows to create a whole new atmosphere in a specific space.

Ungers also is strongly represented in the design of his cubic library. The square is the geometrical form that he favoured and used in his later work. Ungers developed this form so that it created order within the chaos of the existing world, with its abolishment of any differences.

fig. 26 framed view of busts


As the product of the prior research into the aspects of Soane and Ungers their libraries, a set of concepts can be derived. With the exception of character, these themes are abstracted in order to determine a sort of generic value to the display of, and interaction with, a collection of architecture. These themes will provide a basis for the new library design

• inward oriented spaces• spatial connections

INWARD ORIENTED SPACESWhen observing the atmosphere of spaces in Soane and Ungers, a conclusion can be reached regarding the aspects of those atmosphere. The spaces all exhibit a level of intimacy by removing exterior interference and a certain individuality in their approach and experience. The purpose of this theme will remain the same: to establish a more intimate relation between user and collection and to emphasise the different aspects of the collection in respectively designed spaces.

SPATIAL CONNECTIONSThis concept relates directly to the theme of spatial organisation, described as the way one space is connected to the next. In Soane’s case these connections are strongly set, by means of doors and in-between spaces. With Ungers, the visual connection is exploited to the extent of creating ‘portrait frames’ that show specific views.

DESIGN CONCEPTS|THEMES

fig. 27 concept inwards oriented spaces

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fig. 28 concept spatial connections

This concept is conceived following the basic thought of wandering; a sensation brought on by exploring without direction and the only aim being to discover. This can be put into effect by creating an almost picturesque plan, in which the curiosity of the user is engaged by not being given a full understanding of the environment straight away. It leaves the user with the sense of wondering what will emerge around the corner. This sense of wandering and sparking curiosity can also be created by arranging spaces in such a manner that it is visible what is around the corner yet these spaces are not reachable through direct movement. This knowledge does not diminish the experience of once the space is reached. As a result of this movement obstruction, in order to reach this space one must path through other spaces and discover other areas that lead to a specific spatial experience.

ALVAR AALTOIV

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Beside abstracted principles, the personality and design tendencies of an architect are key values of an architectural library that is designed to not only display its collection but also stimulate the interaction with it. For this aspect to be incorporated into the design that is part of this project, a specific architect is chosen to be represented in the library: Finnish architect Alvar Aalto. In this chapter his persona and body of work will be examined in order to explore aspects of his design principles and personality. These will serve as the basis of the ensuing design.


[22] Giedion (1967), p. 663[23] Aalto, Reed, Frampton, & Museum of Modern Art (1998), p. 21[24] Quantrill (1983), p. 7[25] Aalto, Nerdinger, & Achleitner (1999), p. 9

Alvar Aalto stands as one of the pioneers of the modern movement. In the decisive period of the early twentieth century, a trio of buildings comes to the fore that represent the direction Modernism would take; Walter Gropius’ Bauhaus (1926), the League of Nations from Le Corbusier (1927), and Aalto’s tuberculosis Sanatorium in Paimio (1929-33).[22] What sets Aalto apart from his contemporaries is his aspiration to find architectural solutions that aim to reconcile opposites such as nature and culture, the intellectual and the emotional, history and modernity, rationality and intuition.[23]

Aalto found architecture to be too strict and systematic and by viewing nature as the ‘symbol for freedom’ and drawing his inspiration from it, he can be rightly argued to be a romantic expressionist - though these terms would be too simple to describe the complexity of his work. For this reason the Finnish National Romantic movement had a great influence on Aalto:

“In the National Romantic movement, with its free interpretation of historical forms, and its agglutinative anti-academic planning, Aalto found totally sympathetic echoes.”[24]

- Malcolm Quantrill, 1983

The notion of relating all functions to the emotional and physical well-being of people is the distinguishing feature of Aalto’s concept of architecture and is said to ‘represent the antithesis of the Functionalism of many other modern buildings’.[25] Though many Modernists architects were engaged with the needs of human beings, Aalto saw it to be problematic if designs were purely based on criteria of form that abolishes this human factor.

ALVAR AALTO|ARCHITECTURAL POSITION

fig. 29 patient room tuberculosis Sanatorium

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[26] Giedion (1967), p. 645

In his designs, he has always considers the user and the needs of the human as the first and foremost character. He expresses his understanding of the human dimension in his architecture in the case of the Sanatorium in Paimio by designing it to the last detail in accordance to the needs of the patients. The living rooms are designed in such a way that it would account for the fact most of its users would be bedridden and thus in a constant horizontal position. This is also evident in his factory design of Sunila (1936–39). Here the living quarters for the employees are scattered across the forest along with the laundry and bathing facilities.[26] These quarters were erected before the factory, which is testament to the priority given to the workers well-being. Even in the factory itself, the design focuses on the function of the worker within the plant and on the production line. Not a single human being is misused to become an addition to the machine that is the factory plant.

fig. 30 plan Sunila factory and employee housing


[27] Giedion (1967), p. 649[28] Aalto, Nerdinger, & Achleitner (1999), p. 26[29] Aalto, Nerdinger, & Achleitner (1999), p. 26

Aalto approached town planning in a similar fashion as he designed his buildings. In his designs he attempted to free the structure of walls and ceilings from their rigid constraints and used this same method to free the structure of the human settlement. Though rows of houses are seemingly scattered as if strewn by the wind as in the design for Sunila, a hidden order exists by why they are bound.[27]

In the 1930, Aalto established a link between architecture and nature that he would emphasise for the entirety of his career. It was the variety and vitality of nature that became a focus of his architecture, in order to relate his structures to the human form. It was therefore that he designed with naturally flowing forms and movements in all of aspects of his work. The strength of Aalto’s buildings is not in his refinement of every detail, nor the free flowing, almost organically produced, forms, but the care he devoted to the cultivating of the spaces of a building. He understood this to be less a matter of architecture, but an act of protecting the people that would inhabit his designs. This is what gives his design their ‘Aaltoesque’[28] quality.

“The paradoxical concept of protecting people from architecture is the true legacy of Alvar Aalto;’s humane architecture, his Human Modernism.”[29]

- Malcolm Quantrill, 1983

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[30] Giedion (1967), p. 665[31] Giedion (1967), p. 667

When discussing Alvar Aalto’s architecture, light must be shed on his persona and his affinity with people. Aalto was extremely interested in people and their respective individuality.

“When Aalto first appeared, unknown to the rest of us, within the circle of the newly formed CIAM, in Frankfurt in 1929, he did not talk about his buildings but instead told us of a delicate adventure that had befallen him at nine o’clock that morning, on his way from the station to the hotel.”[30]

- Siegfried Giedion, 1967

The relation with his wife Aino is a prime example of how Aalto as a person was engaged with the world around him. Aalto has always required human company, in that the inseparable connection between productivity and human relations that he treasured so dearly is what led him to develop his architecture. Up until 1949 Aalto signed his work using her name as well and placing it in front of his own. Her specific role in the designs has never been specified, but it is undeniable that Aalto’s work has always been influenced by her. It was their contrast in personality that led to their impeccable union and how Aalto’s work and life were influenced for the better.

“Aalto is restless, effervescent, and incalculable. Aino was thorough, persevering, and contained. Sometimes it is a good thing when a volcano is encircled by a quietly flowing steam.”[31]

- Siegfried Giedion, 1967

Some years after her passing in 1949, Aalto married a young architect who previously worked at his office. Though she differed in nature to Aino, she filled the void that Aalto

ALVAR AALTO|THE MAN

fig. 31 Alvar and Aino Aalto


[32] Aalto, Nerdinger, & Achleitner (1999), p. 30[33] Aalto, Nerdinger, & Achleitner (1999), p. 34

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required in his human driven architecture.

His philosophy of life is fundamentally linked to his architecture and provides insight into how he developed an attitude towards individualism. Growing up in the changing social environment of Finland due to technological and industrial advancements, Aalto witnessed the gifts that it brought. It was not until he became involved with the civil war, that he recognised the dangers of these gifts, as the accompanied conveniences lead to changes in the mentality of the people that had become slavishly dependent on them.[32] Because of this realisation Aalto’s architectural goal became that to use his architecture as a remedy for the disruption of individualism in all of society. He believed that the occasional deviation from uniformity was never going to be enough to save individualism and advocated for a kind of flexible standardisation. In Aalto’s personal life, these convictions contradicted the way he interacted with others. When people interact with one another, a certain individuality is associated with their respective persona. The case with Aalto was that he would change his personality regarding the company he was currently engaged with and along with that lacked the trait of being an individual.

“Above all, he lacked any tendency towards narcissism; i.e., the ability to find an ego in his own reflection. Aalto needed a cast of living fellow characters to be anyone himself. Indeed, he seemed not to be able to exist as an individual when he was alone.”[33]

- Göran Schildt, 1999

[34] Schildt (1984), p. 149[35] Schildt (1984), p. 152[36] Quantrill (1983), p. 138

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A central theme in Aalto’s architecture, though not incredibly evident, is his lively interest in the fine arts. From a young age, Aalto exhibited talent that would have granted him a successful career as an artist. Even though he had chosen the path of an architect, he continued to paint to the end of his life. This grants that his architecture is generally connected to his attitude towards painting.[34] He believed that architecture was the highest form of art and that the arts must be reunited with its framework.

“...once there was but one art - architecture. Painting and sculpture, in all their various form, blended into it harmoniously; even music was like the arched vauled of a Gothic chatedral.”[35]

- Alvar Aalto, 1921

Although Aalto had never designed a personal library quite as extensive as those of Soane and Ungers, he was thoroughly engaged with further developing his architecture. As the construction of Säynätsalo town hall came to completion in 1949, Aalto had already begun designing a house that serve as the couples’ summer retreat for himself and Elissa - the young architect who became his second wife. This house had the specific purpose of being a building that he would use for experimenting with form and material, and is thus adequately coined by Aalto as his ‘experimental house’. Aalto felt that he needed to expand his knowledge on materials but could not do so with the designs he created for others.

“An architect must know his materials. It is not allowed to experiment with the client’s money. Therefore I have used some of my own to test some materials and effects.”[36]

ALVAR AALTO|THE COLLECTION

fig. 32 Aalto beside one of his sculptures


[37] Quantrill (1983), p. 142

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- Alvar Aalto, 1953

When observing Aalto’s other personal residences, it becomes clear that he, like Soane ad Ungers, was convinced the house to be the experimental ground for architecture. Whereas the courtyard of this summer house shows his experiments regarding materials and effects, the studio and house he designed a few later show his experiments with form, as it incorporates a large amphitheatre as garden. The courtyard of the Experimental House reveals again Aalto’s love for the arts. The uncharacteristic, formal square configuration of the brickwork and tiles are said to have a direct link with the De Stijl, which was at its height when Aalto visited the Netherlands in 1928.[37]

fig. 33 courtyard Experimental House

[38] Giedion (1967), p. 640[39] Quantrill (1983), p. 5[40] Aalto, Nerdinger, & Achleitner (1999), p. 15

Alvar Aalto’s architectural designs show a certain consistency in principles. These aspects will be highlighted in the following paragraph, in order for them to be used in the library design.

INWARD SPACES - NATURAL FORMSAalto tried, as Le Corbusier, to create a union between inner and outer space by often creating a vault over the interior of his buildings. This vault is then either invisible or purposely emphasised on the outside. This is visible in Aalto’s way of dealing with the flexibility of the wall as an element, most clearly represented by his ‘undulating wall’. The source of this element and his overall philosophy to create natural and organic form is found in the nature of his country; the naturally curved contours of the Finnish lakes are directly related to Aalto’s attempts to free architecture from the threat of rigidity.[38] The inspiration for these curved lines that appear frequently in his architecture can be found in his relation to his father, a surveyor, and the maps that Aalto must have pored over while growing up.[39]

Every aspect of Aalto’s designs relate back to his humane approach of architecture, in which he strives to bridge the gap between a building and nature by using organic connections. As opposed to a standardisation of architecture, his designs are only systematic in the way that nature is. Thus his designs always seem to bring about a certain variability that is never the same for any of his designs.

Because of this, his architecture does not follow the strict dogma of ‘form follows function’ of Functionalism. In his Viipuri library the meaning of this disconnection becomes evident. The building does not obey to any predetermined order but fuses the internal and external. Its architecture neither created from the inside out, nor from the outside in. Both inside and outside, does the design try to adhere to the third standard, namely the people that use these spaces to read and to listen.[40]

ALVAR AALTO|DESIGN PRINCIPLES

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[41] Aalto, Nerdinger, & Achleitner (1999), p. 26[42] Quantrill (1983), p. 4

A great example of Aalto’s connection between architecture and nature is his design for the town hall of Saynatsale. By stressing that the bricks were not be laid in a perfectly flush plane, he wanted to avoid that the brick façade would look too mechanical.[41]

USE OF DAYLIGHT Aalto’s understanding of daylight is a part of his architecture for which he has gained international acclaim. This deep and firmly rooted design philosophy regarding the use of daylight originates from the environment of his homeland of Finland.[42] The winter’s in Finland last for six months, in which the days do not last long and the sun comes in a low angle. As such, being able to utilise this light during the darker times of the year is imperative to design properly in such conditions. This greatly becomes of Aalto when considering his nature

fig. 34 main reading hall Viipuri library

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[43] Aalto, & Schildt (1978), p. 78-79[44] Porphyrios, Heinonen, & Groak (1979), p. 97-108

to use the human being as a principal guideline. He advocates the use of skylights in order to bring out the sunlight’s full potential in the interior of his designs.

“Daylight through ordinary windows, even if they are very large, covers only a part of a big room. Even if the room is lighted sufficiently, the light will be uneven and will vary on different points of the floor. That is why skylights have mainly been used in libraries, museums and so on. But skylight, which covers the entire floor area, gives an exaggerated light, if extensive additional arrangements are not made. In the library building the problem was solved with aid of numerous round skylights so constructed that the light could be termed indirect daylight.”[43]

- Alvar Aalto, 1940

The design phase of the Viipuri library is that which gave Aalto the opportunity to develop the skylights he has so frequently exploited in subsequent designs. It is in this building that idea of a top lighting, central atrium took hold in the design of his public libraries.[44]

Over the course of his career Aalto has constantly been refining and adjusting his skylights. In his oeuvre, a distinction between three types of skylights: conical, pyramidal, and directional skylights. These individual systems are specifically designed for certain tasks; the diffuse conical shape is used to provide proper lighting conditions when trying to pick out and read a book. Whereas the more direct skylights can be used to illuminate a certain area, such as the wall of an art gallery.

ATMOSPHEREThe ambiences of the different spaces in Aalto’s designs are intimately linked with the way he used daylight. In this way he created very light and


[45] Quantrill (1983), p. 4

serene spaces. However, his use of materials also contributes largely to this experience. The ‘whiteness’ that he so frequently uses has become a permanent influence on modern Finnish architecture. This is mainly because of the functional necessity of having the most possible reflection of light in the interior, which compliments Aalto’s way of using daylight.[45] In order to further compliment the sunlight, this use of white material is paired with light to medium wooden finishing and furniture. This wood is easily accessible due to Finland’s natural resources.

fig. 35 library Villa Mairea

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[46] Giedion (1967), p. 648

SPATIAL ORGANISATIONAalto uses a lot of open floor plans and open spatial organisation. In order to still create private areas, his public libraries consists of large open spaces that are divided into smaller areas by means of sunken floor areas or lowered ceiling. His design for the Villa Mairea follows the same principles but on a smaller scale and it involves more diverse uses of space, as opposed to the single function of a reading hall.

“In this house a rare thing has been achieved; the feeling of uninterrupted flow of space throughout the house is never lost, and yet the feeling of intimacy is preserved, wherever you are.”[46]

Siegfried Giedion, 1967

In the living room of the house, a subtle transition of space is made by changing the flooring with a diagonal line between the two edges.

fig. 36 white plastered brick façade

fig. 37 living space Villa Mairea

ARCHITECTURAL PORTRAITV

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Now that the personality and design principles of Alvar Aalto have been discussed and researched, an intermezzo of sorts is in order to showcase the specifics of the design. This intermezzo will answer the question of method of what an architectural portrait is, by comparing it to a literary and pictorial portrait. This chapter will conclude the concrete aspects of design, differentiated between citation, adaptation, and addition.


[47] Oxford (1989), entry ‘portrait’[48] Aymar (1967), p. 94

A portrait is, as quoted from the Oxford Dictionary, “a painting, drawing, photograph, or engraving of a person, especially one depicting only the face or head and shoulders”[47] and is mostly met with the intent of showing a person’s personality or even the specific mood at a certain time. The subject is often facing the person composing the portrait, in order to establish the most direct engagement between subject and viewer. Although paintings and photographs are well known types, there are many sorts of portraits, shaped by most forms of artistic expression, including architecture. The question that remains is what an architectural portrait actually is, and how it can be designed.

PICTORIAL PORTRAITThe pictorial portrait is the most common kind of portrait, and can also be referred to as ‘portrait painting’. Historically, portraits have primarily been to commemorate the rich and powerful but over the course of the last few centuries, it has become more common for the middle class to commission portraits of families and loved ones. One of the most well-known portraits in the Western world is the Mona Lisa by Leonardo da Vinci, depicting Lisa del Giocondo.

Portrait painting consists of a wide variety of techniques, styles, and postures, but the main purpose of a well executed portrait remains the same. It is expected to show the very essence of the subject, from the artist’s point of view naturally, or a flattering representation, as opposed to solely striving for likeness.

“The only expression allowable in great portraiture is the expression of character and moral quality, not anything temporary, fleeting, or accidental.”[48]

- Edward Burne-Jones

ARCHITECTURAL PORTRAIT|PORTRAITS

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[49] Lorne (1990), p. 3-4

With that another important aspect of portraiture that is especially visible in painting can be explored, namely the fact that the portrait is constructed by an artist. Because of this obvious fact, it is easily overlooked that a portrait of a subject never only shows the subject, but also a piece of the artist’s persona. As such, the portrait oeuvre of an artist will show the similarities that are his trademark. This aspect is particularly evident in self-portraiture, which is a specific type of portrait. A self-portrait may refer to an actual portrait of an artist or the artist being included in a larger portrait along with others. These portraits of the artist were not intended to present the actual person themselves, but to create a topic of conversation as well as a public test of the artist’s skill or a platform for

experimentation.[49] One of the most known and prolific artists that explored self-portraits is Vincent van Gogh. The style of expressionism that he painted in is greatly evident in his portrayal of himself..

Quite a lot of variables can be explored when painting a portrait, such as the clothing, the nature of the scenery - outdoors or indoors -, and the posture of the subject - seated or standing. They can be made with various media, such as charcoal, pen and pencils, oil, or watercolour, as well as the variety of subjects: individuals, couples, parents and children, and families. The subject of a pictorial portrait can be shown in a number of ways, from a full length view to one of only the head and shoulders commonly referred to as a bust, and have varying directions of light and shadow. As such, the

fig. 38 Van Gogh’s ‘self-portrait with grey felt hat’


[50] Aymar (1967), p. 280[51] Heier (1976), p. 321

overall size of the portrait can be of important consideration when taking into account where the final portrait will hang, and even the colours and style of the surrounding décor.[50]

The background of a portrait is another point of interest regarding the setting of the subject. The use of symbolic items such as household objects or furniture is often to show character in a sense of morality or religion. Such items can also display the subject’s occupation, interests or social status. The choice of a more neutral and blank background is to focus more on the expression of the subject without using the setting of their social or recreational milieu. A key element to accomplishing a successful portrait is mastering the human anatomy. As the human face is asymmetrical, artists must have sufficient knowledge of the underlying bone and tissue structure of the human body in order to recreate proper expressions.

LITERARY PORTRAITA portrait as found in literature is a specific kind, for it is constructed solely by the written description or analysis of a person, whether fictional or existing. As such, it does not rely on imagery of any kind to portray the psychical characteristics of the literary figure. This brings about that the realization can be achieved in a multitude of ways and therefore lacks a well-defined formal concept. [51]

Literary portraiture and portrait painting share characteristics in their essence and purpose: the aim to reveal definite character traits by describing the physical features. Often accompanied by commentary of interpretation, a certain impression of a personality leads the reader to envision it as intended by the author. When the author does not impart enough of an impression, the portrayal of the character may depend too greatly on the imagination of the reader and cannot be considered a portrait in the sense of its pictorial

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[52] Heier (1976), p. 321[53] Heier (1976), p. 323[54] Heier (1976), p. 328

counterpart. As much as they are alike, drawing a parallel evolution between the two can prove problematic. In style and concept, these two forms of portraiture have not always developed at either the same speed or time. Strictly speaking there is no historical development of literary portraiture, only the fluctuation of different types to be adapted as the popular style. However comparing these two forms in more general terms shows that sometimes the aesthetics of portrait painting were upheld in literary portraits and a certain type was more prominent at a certain time.[52]

In contrast to a portrait that is established through a description of visual traits, a literary portrait can also be created by indirect means. This may involve describing the character through action, exposition or dialogue.[53] Though this depiction can be highly successful in exposing moral traits of the subject, it lacks affinity with a pictorial portrait as it defeats the traditional purpose. The fact that this variety of form exists, only strengthens the claim that a literary portrait lacks a widely adopted formal concept and can thus be questioned fiercely. The more or less one-to-one transition of techniques between painting and writing has led to criticism in the past by writers as Gotthold Lessing and Leonardo da Vinci.

“In literature we recognise no rules and no models, or to be more correct, there are no rules other than the laws of nature which alone govern the arts.”[54]

- Victor Hugo, 1827

In more recent times, concepts of a literary portrait have begun to coincide with both the traditional techniques of so called ‘word painting’, and the criticism of the past few centuries. Although it can be concluded that a definition of a literary portrait is freely interpretable and can vary depending on the author’s personal concept, the essential ingredient of providing inner


[55] Heier (1976), p. 324

quality through external description must be preserved.[55]

ARCHITECTURAL PORTRAITAfter describing the essence, purpose, and structure of two prominent types of portraits, an understanding of the architectural portrait can be conceived. This will be done by establishing connections between the various aspects of a pictorial and literary portrait, and the architectural portrait, as well as identifying common ground.

The houses that Soane and Ungers designed for themselves were not merely a place for them to store their collections; they were architectural portraits in the way that they used these buildings to experiment in the field of architecture

fig. 39 Soane student mezzanine

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throughout their lifetimes. These ‘personal universes’ are the embodiment of their profession as architects and thinkers, and the self-portrait by which we gain insight into their respective minds. Whereas the pictorial or literary portrait is of a person, depicted on either a canvas or pages; the architectural portrait is of the oeuvre and architectural standing of an architect, shown in a design that serves as canvas.

Certain aspects of the painting portrait can be represented by architectural aspects that make up the design. The posture of the subject is translated into the size and position of the design. The background and the way it is shown relates to the environment of the building, while it can also incorporate certain ornaments that provide a context to the architect and his oeuvre. An example of this would be the drawing instruments in the mezzanine study of Soane’s Museum that was used to teach Soane’s pupils and assistants. If understanding the anatomy of the human body and the grammar of language are key to being able to portray a subject properly in both painting and written text, an understanding of the architectural grammar is imperative to proper portrait design. This is then manifested in the visual characteristics of the design that showcase the traits that are most prominently evident in the subject’s oeuvre. A complete understanding of an architect can also include his methods of design, but the scope of this portrait is limited to using external characteristics to convey the essence of the subject and his position within architecture.


With the architectural portrait now defined, the research leads to Alvar Aalto and his believes being the subject of the newly designed library. Because Alvar Aalto practised architecture up until the 1970’s, the aim of this design question is not to impersonate him in every aspect of the design, but to employ a specific method to create Aalto’s portrait. This method involves the identification of three different types of architecture elements that will be featured in the design of the library:

• citation• adaptation• addition

These elements will be explained and discussed further in the following chapter. The method of combining specific elements of Aalto’s designs with personal additions will create a building that shows obvious traces of his principles, but still be distinguishable from his oeuvre. As Aalto saw the house as an opportunity to experiment with his architectural ideology and such, the choice to focus more on elements from his designs for residences, personal and others, is a logical one.

ARCHITECTURAL PORTRAIT|ALVAR AALTO

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CITATIONThis form of using Aalto’s architectural elements and concepts can best be describes as an imitation that focuses on establishing a very similar outcome and appearance.

Conical skylightAs discussed in chapter IV, the use of daylight in architectural form is a key element of Aalto’s designs. The type of skylight he most widely used is the conical skylight. This skylight excels in diffusing the sunlight coming in at a low fig. 40 sketch Aalto conical skylight Viipuri

fig. 41 view conical skylights


angle, link in the winter and in Nordic countries. It is designed to provide the best lighting for reading and browsing books in his libraries, but is also used in other types of buildings that incorporate large and open spaces as a way to accentuate the space. In Aalto’s library plans this skylight is often paired with an area that has a recessed floor level to create a distinction from the rest.

In the design, the conical skylight is used for the more private and secluded reading area on the south side of the building and is hidden behind the interior wall that closes off the main reading area. The interior wall serves to minimize the

fig. 42 stairs garden Maison Carré

fig. 43 view stairs rear entrance

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reflections coming in from the rest of the space so that the conical skylight can be experienced properly.

Outdoor stairsAalto’s designs are often situated in locations that are sloped, which allows

for him to incorporate a difference in levels. However, in the case of some projects such as the Saynatsalo Town Hall and the Aalto Center in Seinäjoki, the slope is artificial. The entrances of these buildings are always facing the lower part of the slope, to make the users walk uphill before gaining access to the level on which the building resides, but it can also be part of the garden area at the rear of the building, as in the case of Maison Carré. Owing to the sloped location, Aalto has designed a specific and natural outdoor stairway that utilises the land surrounding the building by placing wooden or concrete slabs in order to create grassy steps that follow the contours of the slope.

The stairs are copied at the rear to create an entrance to the garden area. As the garden area is on the level of the main reading space, which is elevated from the entrance, these stairs follow the artificially sloped terrain.

Finnish fireplaceThe famous residences of Villa Mairea and Maison Carré incorporate a fireplace in the

fig. 45 view fireplace

fig. 44 fireplace Villa Mairea


main living room area, so that people can gather around it. The fireplaces that Aalto has designed are based on the Finnish fireplace tradition, which revolves around a stone (often Finnish soapstone) casing that traps residual heat This heat can provide warmth for the space for an extended period of time.

In the library, the Finnish fireplace is used not only as a traditional ornament but also as a way to structure the main reading area around it, to create an open and connected space while maintaining a separation in function.

fig. 46 skylight KUNSTEN museum interior

fig. 47 view skylight art gallery

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Skylight painting galleryIn Aalto’s design for the KUNSTEN Museum of Modern Art in Aalbord, Denmark, he used a specific skylight to illuminate the galleries. The skylight consists of a volume that protrudes from the normal ceiling level with an arched surface on either side. This skylight is adopted in the library and is used in the small art gallery situated on the north side. As can be seen in the image, the arched surface illuminates both long walls of the space, with the south side being naturally brighter. The roof of the skylight is slanted upwards to let more light from the north in, visible in section B-B. This is to compensate for the larger amount of light coming in from the south.

fig. 48 open floor plan library Rovaniemen


Spatial organisationThe design of the personal library tries, in its entirety, to replicate the spatial organisation as achieved by Aalto in his design for Villa Mairea. This concept is realised by creating an open space floor plan that does not necessarily enclose any particular space, but still maintains a level of individual character and intimacy. As such, the library consists of a semi-open floor plan that allows the differences in floor level, ceiling height, and daylight entry to dictate the difference in character. This is also evident in Aalto’s design for the library for Rovaniemen. Although this open space concept is a different approach than the spatial organisation found in the libraries of Soane and Ungers, it still shows similarities when pointing out the individual character of spaces. This is especially noticeable in the way the art gallery and model space relate to the main reading area, by the flooring and visual connection

White exteriorThe exterior of the library consists mostly of white plastered brick, which acts as a reference to Aalto’s trademark use of ‘whiteness’, described in chapter IV. Texture-wise, this is grants more depth than a smooth plastered wall would.

ADAPTATIONAdaptations in the design of the library are aspects that try to convey a similar purpose or visual presence as the elements of Aalto, though

fig. 49 Aalto sketch ceiling Viipuri auditorium

fig. 50 curved ceiling Maison Carré

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developed in order to fit the architecture of the library.

Curved ceilingAalto’s designs often feature the manipulation of the horizontal planes in the same manner and with the same purpose with which he designed his ‘undulating’ wall. As with the auditorium of the Viipuri library and the large entrance area of Maison Carré, he does this by curving the ceiling to follow the flow of the space. In the Viipuri auditorium specifically, it is designed to provide a high level of acoustic quality as the room is addressed by a speaker. Whereas in the case of Maison Carré it is done in the entrance area that serves as a structural element regarding the surrounding rooms, and the ceiling is used to direct the flow of the space.

fig. 51 view curved ceiling


This latter explanation of the curved ceiling is the purpose sought after in the design for the library. Though it differs in execution due its less steep curve. This enables the space to be divided into the different reading areas while allowing the height differences in floor level to dictate the flow of the space. It is also not, unlike the one is Maison Carré, constrained in its short axis and therefore flows in a more diagonal line towards the garden.

fig. 52 view recessed reading space

fig. 53 Aalto sketch canopy Villa Mairea

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Recessed reading spaceIn his library designs, Aalto frequently incorporates recessed areas in his open plan layouts, as seen in the cases of Rovaniemi and Seinäjoki. This is a concrete example of how he uses the spatial organisation to create a space that grants full overview, yet still maintains a certain level of intimacy. In the design of the personal library, this concept is adapted, not to grant an overview but to create

a very intimate reading space that is visually cut off from the main reading area.

Entrance canopyThe entrance to the library is actually a case in which an adaptation of the canopy that marks the entrance to Villa Mairea, is combined with an addition that will be explained in the next paragraph. In Villa Mairea, Aalto uses a large, natural, free-form shape to create a covered

fig. 55 vertical cladding entrance Maison Carré

fig. 54 view entrance canopy and cladding


entrance that protrudes from the main volume of the residence and forms a semi enclosed space.

Vertical claddingIn his design of Maison Carré, Aalto uses vertical wooden boards to cover the windows and provide shading. These boards are flush with the front of the facade and are most prominently present above the front entrance. On the inside this creates strokes of daylight touching the curved ceiling of the lobby. In the library this method of providing shade is adopted, but the opening above the entrance is shifted towards one side, as opposed to being directly above the entrance.

fig. 56 curved facade Villa Mairea

fig. 57 view curved façade garden

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Curved cladding surfaces Villa MaireaThe design for Villa Mairea features a facade that is dominated by a wavy, natural volume that curves around towards the garden area, completed with vertical wooden cladding. This feature shows Aalto’s affinity with using natural flowing shapes . Towards the entrance of the garden in the new library, this wave-like structure is used to soften the edges of a volume with multiple sharp corners.

BookcasesAalto’s mastery of detail is particularly evident in the bookcases he has designed for the various libraries. Every example shows a refined joinery and careful planning of either horizontal or vertical emphasis, which harmonises with the space. For the library of Maison Carré Aalto designed bookcases with the emphasis on the horizontal shelves. This accentuates the shape of the space and the split floor level, and are therefore adapted to fit in the new library.

ADDITIONThis is the type of method that distinguishes the library from Aalto’s oeuvre. The following themes are the personal additions to the library, derived from preferred design choices and architectural position. The principles as

fig. 59 view hidden corner

fig. 58 bookcases library Maison Carré


abstracted from the case studies of Soane and Ungers and discussed in chapter III, are also integrated into the design.

Hidden cornersIn chapter III the concept of spatial organisation is described as a feeling of wandering as one walks through the library. This can be enforced by a multitude of corners that piques the curiosity, in order to grant that sensation of discovering what is around the corner. In the design this concept is manifested in the way the open floor plan interacts with the sight lines from the different edges of the spaces. The intimate reading corner on the south side

fig. 60 view connection model space - reading area

is not clearly marked but can be discovered by venturing towards the seating area and garden. Also not clearly marked is private study area that resides in the extruded space of the front facade. Although that space is accessible from the entrance without having to path along other parts of the plan, it is never fully divulged until you are actually experiencing the space.

Model spaceAlong with the concept of spatial organisation, there is also the concept of knowing what’s around the corner through a visual connection, but not being able directly access that part of the design. This is manifested in the way the model exhibition space is connected to the main reading area. From a higher stand point one can gaze through the full length of the space, yet one has to pass through the painting gallery in order to reach it and by doing so discovers the treasures on display there. This concept relies on the transition of spatial experience from one room to the next, as was done in the cases of Soane and Ungers.

EntranceApart from the adaptation of the canopy, the entrance can be identified as an addition. The volume of the entrance is added onto the main volume that encloses the main reading area. This serves to gain more space that can precede the main area that structures the rest of the rooms. This annexation of a volume allows for natural light to enter from above, and

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fig. 61 view entrance volume

LIBRARYVI

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This chapter contains a complete presentation of the finished design with drawings and images.

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THE LIBRARY|LOCATION

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fig. 62 situation plan 1:500

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THE LIBRARY|EXTERIOR

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fig. 63 impression south east corner


THE LIBRARY|INTERIOR

fig. 64 impression ‘living’ room area

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fig. 65 impression recessed reading area /conical light


fig. 66 impression large seating area / fireplace

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fig. 67 impression model area


fig. 68 impression art gallery / skylight

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fig. 69 floor plan 1:100

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EAST FACADE

fig. 70 west elevation 1:100

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NORTH FACADE

fig. 71 north elevation 1:100

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fig. 72 east elevation 1:100

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fig. 73 south elevation 1:100


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fig. 74 section A-A 1:100

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fig. 75 section B-B 1:100


THE LIBRARY|DETAILS

fig. 76 detail V-1 1:10

VII CONCLUSION

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In this chapter, a conclusion is reached on the question of what a new library for architecture should look like.


This design research aims to address the observed decline of the library as an important tool in the education of architects; a decline mostly due to the rapid digitalisation of our society and that poses a threat to the values that a library holds. This is why the research revolves around the question:

It is established that the answer to the question lies within the design of personal libraries of architects. Libraries that house their accumulated collections of books and architectural artefacts. The character of these personal libraries is the essential aspect that sets them apart from others and is therefore imperative to the design of a new library. In order to create a suitable design, the design is based on three fundamental components: (1) the values found in the case studies of Sir John Soane and Oswald Mathias Ungers, (2) the character of Alvar Aalto, being the subject of the new library, and (3) the understanding and application of an architectural portrait as design method.

SPATIAL VALUESFrom the case studies, it can be concluded the libraries of Soane and Ungers were created to serve as personal universes. Their purpose is not only to contain the collection, but also to engage the architect in his profession and personal life. Soane and Ungers both developed their libraries over the course of their careers and used it to experiment and grow. In relation to the library it can be said that the representation of their position in architecture has become a part of its collection. When comparing the two, aspects can be abstracted from their respective architectural characters that illustrate the values of a library focused on an architectural collection. As the libraries revolve mostly around the collection, its values are predominantly interior based. By using

CONCLUSION|RESEARCH QUESTION

“WHAT DOES A NEW LIBRARY FOR ARCHITECTURE LOOK LIKE, FOCUSED ON CONSERVING AND ENCOURAGING THE TRADITIONAL WAY OF LEARNING THROUGH PHYSICAL MATERIAL?”

113

mostly skylight the daylight is manipulated to provide the best possible lighting for the collection. In order to establish a deeper relation between the architect, the architecture and the collection, the rooms are designed as introverted spaces and focus on individuality. The spatial organisation that connects the different parts of the library creates the engaging experience of space.

CHARACTER OF ALVAR AALTOAlvar Aalto created a form of Modernism referred to as Human Functionalism, which distinguished him from his contemporaries in the early decades of the last century. This style of architecture focuses on the needs of the human being as the fundamental basis of design and reflects Aalto’s overall commitment to society. This understanding provides a context for his designs and aids in the analysis of his oeuvre. As the analysis of Aalto’s designs is based on the same themes as the two case studies, it can be concluded that his approach to these themes, though complementary to his particular style, resonate with the way Soane and Ungers applied them in their designs. Aalto creates an architecture that takes shape from the inside out, from inner spaces to outward forms. His understanding and the use of daylight revolves around skylights to create appropriate lighting conditions for his designs. The atmospheres of his spaces are light and pleasant, so that the user is embraced and not constricted. And his spatial organisation compliments these atmospheres by enabling space to move freely throughout his buildings.

ARCHITECTURAL PORTRAITIn defining what exactly makes up the architectural portrait, it can be concluded that it resembles that of a pictorial portrait, more than the literary one. Whereas a pictorial portrait features aspects that can be interpreted when exploring their representation in architecture, a literary portrait lacks a clear


definition of the techniques and is therefore only usable to determine that the architectural portrait should not provide indirect means to portray its subject. The overall building design serves as the canvas or pages on which the architect as subject is depicted. The portrait of Alvar Aalto applies three different methods of design choices; the citation that copies elements of his architecture, the adaptation that adjusts his elements but still creates the same effect, and the addition of overall values of a library of architecture. In the design, this distinction has been made clear by highlighting the various design choices. In conclusion, it can be said that a suitable library for architecture is the architectural portrait of an architect, not only holding a collection of books and artefacts but also used to engage architecture.


THE ARCHITECT AND THE BOOK|BIBLIOGRAPHY

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IMAGES

• Cover I http://thefunambulist.net/2010/12/17/litterature-erik-desmazieres-illustrationof-

borges-library-of-babel/

• fig. 1 https://en.wikipedia.org/wiki/Palace_of_Mafra#/media/File:MafraPalace-Library.jpg

• fig. 2 http://serenade-rabbitnest.blogspot.nl/2010/03/beinecke-rare-book-and-manuscript.html

• Cover II

• fig. 3 http://architectuul.com/architecture/view_image/sir-john-soane-s-museum/10064

• fig.4 https://autobiographicalhouses.wordpress.com/2011/04/01/john-soane-museum/#jpcarousel-

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• fig. 5 http://socks-studio.com/img/blog/soane-bank-of-england-03.jpg

• fig. 6 http://hire.lewisbush.com/interiors/

• fig. 7 ReCollection



• fig. 10 http://www.ungersarchiv.de/files/uaa_2015/header/UAA_Aussenansicht.jpg

• fig. 11 ihttps://www.smow.de/blog/tag/ungers-archiv-fur-architekturwissenschaft/fig. 12

exterior Badische Landesbibliothek 26

• fig. 13 http://www.ungersarchiv.de/index.php/news-reader/City_Metaphors.html

• fig. 14 Ungers, O. M., Pehnt, W., & Edition Axel Menges GmbH. (2016)




• Cover III

• fig. 18 http://www.archdaily.com/633664/london-s-soane-s-museum-unveil-a-series-of-newspaces/

555d8dd3e58ece191b0000bc-london-s-soane-s-museum-unveil-a-series-of-new-spacesimage

• fig. 19 space beside library cube Ungers 33

• fig. 20 diagram different skylights 33

• fig. 21 model space Ungers 34

• fig. 22 picture room Soane 35

• fig. 23 model space Soane 35

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• fig. 25 diagram spatial organisation Ungers 36

• fig. 24 diagram spatial organisation Soane 36

• fig. 26 framed view of busts 37

• fig. 27 concept inwards oriented spaces 38

• fig. 28 concept spatial connections 39

• Cover IV http://www.metalocus.es/en/news/exhibition-alvar-aalto-%E2%80%93-secondnature

• fig. 29 http://www.architectmagazine.com/design/culture/the-enduring-legacy-of-paimio_o

• fig. 30 plan Sunila factory and employee housing 43

• fig. 31 http://www.alvaraalto.fi/aalto_arkkitehti_muotoilija.htm

• fig. 32 https://www.disegnodaily.com/article/alvar-aalto-and-artek#slide-3

• fig. 33 http://3.bp.blogspot.com/-nJwqQjE645A/UPgxvVl1d7I/AAAAAAAAAJE/1npe7aGink0/

s1600/Experimental+House+-+Imagem+1.jpg

• fig. 34 main reading hall Viipuri library 50

• fig. 35 library Villa Mairea 52

• fig. 36 white plastered brick façade 53

• fig. 37 living space Villa Mairea 53

• Cover V http://quotesfor.org/great-alvar-aalto-quotes/

• fig. 38 https://en.wikipedia.org/wiki/Vincent_van_Gogh#/media/File:Vincent_van_Gogh_

Selfportrait_with_grey_felt_hat_-_Google_Art_Project.jpg

• fig. 39 http://standardissuemagazine.com/lifestyle/moments-peace-sir-john-soane-museum/

• fig. 40 http://www-bcf.usc.edu/~kcoleman/Precedents/ALL%20PDFs/Aalto_ViipuriLibrary.pdf

• fig. 41 made by author

• fig.42 http://www.archdaily.com/356209/ad-classics-maison-louis-carre-alvaraalto/

515fe312b3fc4b2ba700020f-ad-classics-maison-louis-carre-alvar-aalto-photo


• fig. 44 http://ounodesign.com/2009/06/20/aaltos-villa-mairea-in-finland/


•fig.46 http://www.visitdenmark.co.uk/en-gb/denmark/renovations-set-bring-new-

radiancedenmarks-iconic-aalvar-aalto-kunsten-museum • fig. 47 made by author

• fig. 48 https://c3.staticflickr.com/9/8515/8464851130_526eaa9792_h.jpg

• fig. 49 http://www.metalocus.es/en/news/story-alvar-aalto-library-vyborg


• fig. 50 http://www.alvaraalto.fi/net/villa_mairea/en/18.htm



• fig. 53 http://www.panoramio.com/photo/27196060

• fig. 55 https://www.flickr.com/photos/15490726@N05/4016139885/


• fig. 56 curved facade Villa Mairea 72



• fig. 58 http://smallspacesblog.tumblr.com/image/109196276951

















• fig. 76 detail V-1 1:10 108

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