alvar aalto through the eyes of shigeru ban

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1 do something different alvar aalto through the eyes of shigeru ban Teachers Resource: Key Stage 3 & 4 Art & Design/ Design & Technology Barbican Education Contents Introduction to the exhibition and this resource p 1 Architecture studies in schools p 2 Alvar Aalto p 3 Exhibition plan and information p 4 Design ideas p 5 Design process p 6 Presentation p 7 Interpretation p 8 Students projects: design and technology p 9 Students projects: art and design p 10 Keywords p 11 Resources: websites and publications p 12 Resources: organisations p 13 Barbican Art Gallery planning your visit p 14 Credit: Alvar Aalto, Savoy Vases, Littala

2 01 Barbican Education Inspired by the extraordinary diversity of the Barbican arts programme, Barbican Education offers pupils and teachers powerful learning opportunities and the chance to discover more about the arts and their own creativity. A comprehensive education programme accompanies every Art Gallery exhibition, including teachers resources, CPD events, and gallery tours. For more information, to download other resources or book events please visit Introduction to the Exhibition This first U.K. retrospective of the 20th century Finnish architect Alvar Aalto ( ) provides an unusual perspective on his achievements and legacy, through the eyes of Shigeru Ban, one of the most innovative Japanese architects today. As designer of this exhibition, he shows how his work as an architect continues Aalto s legacy. The exhibition features architectural models and drawings, furniture, light fittings, textiles, glassware, photographs and paintings and drawings by Aalto. It is designed as a conversation between these two architects who share the same architectural vision beyond time and cultural difference. The first part of the exhibition looks at the development of Aalto s architectural vision and style highlighting his 12 key buildings. The second part explores the themes and issues linking Alvar Aalto and Shigeru Ban. Introduction to this Resource The exhibition provides an opportunity for young people to study the work of a major European architect who has been a significant influence on 20th century architecture, and to use it as a source of inspiration for their own projects in art/design and design technology. They will find much to help them develop design awareness, critical skills and design capability. This resource contains: A short introduction to architecture studies and curriculum links. A summary of Alvar Aalto s work. Exhibition plan and a summary of contents of the exhibition. Suggested ways of viewing the exhibition to explore design ideas, the design process and methods of presentation, interpretation and critique. Suggested ways for using the exhibition as inspiration for art/design and design/technology projects in schools. Online resources, focusing on the work of architects active at the same time as Aalto, or contemporary architects whose work shares similar qualities. main image: Alvar Aalto, Villa Mairea, Noormarkku, Finland , Main staircase Judith Turner, 2006 above left: Alvar Aalto, Paimio Chair, 1932, Image courtesy of the Alvar Aalto Museum above right: Shigeru Ban, Paper Church, Nagata-ku, Kobe, Japan, Entrance area, , Image courtesy: Shigeru Ban Architects Photo credit: Hiroyuki Hirai Hiroyuki Hirai

3 02 Architecture studies and built environment education in schools Architecture studies and built environment education in schools enables young people to experience the world, to understand it, to think about it, to feel and value it. Educational projects that create links between art, design and the environment establish new relationships between learners and their surroundings. They oblige young people to question how we choose to live and to shape our environment. They offer young people opportunities to explore, investigate and discover, promoting intellectual curiosity. They nurture different ways of thinking and feeling. They provide opportunities for active learning and problem solving. They develop skills of perception, communication and invention. They encourage different social roles and relationships. Most importantly, involving young people in environmental design projects develops their capability to deal with the process of change positively and creatively. Sometimes, young people are able to take action, to put their ideas into effect. The exhibition will be of particular interest KS3 and KS4 students as part of their programmes for Art/Design and Design/Technology in the National Curriculum. Art/Design Through art and design activities pupils learn to make informed value judgements and aesthetic and practical decisions, becoming actively involved in shaping environments. They explore ideas and meanings in the work of artists, craftspeople and designers. They learn about the diverse roles and functions of art, craft and design in contemporary life and in different times and cultures. Design/Technology Design and Technology makes a unique contribution to the development of all young people by preparing them to participate in tomorrow s rapidly changing technologies. They learn to think and intervene creatively to improve the quality of life. By developing, planning and communicating ideas they enhance their intelligence and ways of thinking about human culture. As they evaluate processes they become discriminating and informed users of products. above left: Credit: Alvar Aalto, Finnish Pavilion New York World s Fair, Queens, New York, , Ground floor plan above right: Alvar Aalto, Villa Mairea, Noormarkku, Finland View of northeast corner with main entrance canopy Image courtesy of the Alvar Aalto Museum, Jyväskylä Gustaf Welin

4 03 Alvar Aalto Alvar Aalto Alvar Aalto is recognized today as one of the great masters of modern architecture. During his long and prolific career, Aalto s work embraced almost all key public institutions town halls, theatres, churches, libraries and universities as well as standardised housing and private homes. Aalto s architecture is marked by a warm humanity and strong individuality. His buildings derive their special aesthetic character from their dynamic relationship with their natural surroundings, their human scale, superbly executed details, unique treatment of materials and ingenious use of lighting. Aalto first achieved fame in Continental Europe as a furniture designer, and only later as an architect. His contribution to furniture design was among his foremost achievements in its own right, and it sowed the seed from which many of his architectural ideas sprang forth. Tuukkanen P. (editor) 2002, Alvar Aalto, Designer, Alvar Aalto Foundation, Alvar Aalto Museum. main image: Alvar Aalto in the 1970 s, Image courtesy of the Alvar Aalto Museum Eva and Pertti Ingervo above left: Experimental House, Muuratsalo, Sauna, exterior detail wood, Judith Turner above right: Paimio Tuberculosis Sanatorium, Paimio, Finland, interior lighting detail Judith Turner Aalto is universally acknowledged as a landmark figure in the history of 20th century architecture, ranked with Modernist masters such as Le Corbusier and Mies van der Rohe. Aalto established his international fame as a designer and architect first in London, and his work was particularly influential in England during the 1950s. For Aalto, architecture meant the creation of environments that were conducive to overall human well-being and provided ordinary people with comfort and happiness. His architectural philosophy was to harmonise human life with nature by balancing the building s internal and external requirements with its immediate environment. In Aalto s buildings, aesthetic values are an integral part of his overall architectural scheme. Aalto was an highly experimental architect who innovated by combining traditional and natural materials with modern technology to further his goal of improving the conditions of human life. He was as concerned with the interiors of his buildings as he was with their structure. He admired the commitment to craftsmanship and sensitivity to natural materials that he found in Japanese architecture. 60 years later, this influence is evident in the work of Shigeru Ban, whose work makes use of natural and recyclable materials such as cardboard, bamboo and wood. At the start of the 21st century, when we are facing global issues such as urbanisation, housing problems and environmental changes, Aalto s work carries an important message for the future of architecture and its role in society.

5 Exhibition Plan Teachers Resource 04 Upper level/ The exhibition begins on the upper level Room 1 Early Years and Nordic Classicism Rooms 2 & 3 Functionalism Rooms 4 & 5 Search for a New Style Room 6 Red Period Rooms 7 & 8 White Period and Aalto s Late Phase Exhibition Plan The first part of the exhibition, in the upper gallery, looks at the development of Aalto s architectural vision and style. In the upper gallery, a contour model represents each key building, and an analytical model accompanies a commentary by Shigeru Ban. Contextual materials are displayed, including drawings, photographs, book and magazines. Where appropriate, furniture, lighting and other design works are incorporated in the display. The themes explored include: Materials Structure Form Experimentation Standardisation Lighting Details and Texture Analysis and Synthesis Nature and Landscape Architects and Social Responsibility Lower level/ The exhibition continues on the lower level Room 9 Forms Room 10 Materials and Standardization Room 11 Lighting and Structure Zones A B The Architect and Society/the AA System Houses Zones C D Aalto Furniture Zone EShigeru Ban and Aalto s Legacy This section of the exhibition identifies six phases in Aalto s career and presents 12 key building projects, focusing on his styles and the context of his work. The second part of the exhibition in the lower gallery explores themes and issues linking Aalto and Shigeru Ban, ranging from the questions of forms, materials and structure to ethics. The display is designed as a dialogue between Aalto and Ban on the key principles and issues linking the two architects. This part of the exhibition analyses Aalto s approach to certain themes and shows Ban s work as a counterpoint by comparing their approaches and the solutions to the same problems. above left: Alvar Aalto, Savoy Vases, 1937 Littala above right: Alvar Aalto, House of Culture, Helsinki Finland, Exterior, red-brick wall - detail Judith Turner, 2006

6 05 Design Ideas Design Ideas The ultimate goal of architecture is to create a paradise. It is the only purpose of building a house Every house, every product of architecture should be a fruit of our endeavour to build an earthly paradise for people (Alvar Aalto, 1957). Beauty is the harmony of purpose and form. (Alvar Aalto, 1928). Architectural models of Aalto s buildings Have a look at Aalto s original building models as well as models constructed by others. What purposes do the models serve? Reconstructions of Aalto interiors Look for varied use of materials (bricks, tiles and timber) and design details such as door handles, handrails. How do they contribute to design quality? Aalto s architectural drawings Look at both original drawings by Aalto and reproductions. How do designers use drawing? Furniture, light fittings, textiles, glassware and other design objects Look for prototypes by Aalto and also standardised versions. Which work well? Why? Paintings and drawings by Aalto How do Aalto s drawings and paintings his art differ from his design work? Some questions for discussion following the exhibition: What are the key ideas that underpin the work of Alvar Aalto? Where did Alvar Aalto find inspiration? What influences are evident in Aalto s work? In what ways did Aalto s work create an integration of nature and architecture? How does Aalto s work relate to sustainability? In what ways did Aalto consider the needs of the people who lived or worked in his buildings or used the objects he designed? How has Aalto influenced current design? What relevance does Aalto have for the 21st century? main image: Alvar Aalto, Gold necklace and bracelet, 1960s Image courtesy of the Alvar Aalto Museum Maija Holma above left: Alvar Aalto, Church of the Three Crosses Vuoksenniska, Imatra, Finland, above right: Alvar Aalto, Chair for Paimio Sanatorium

7 06 Design Process Design Process Look carefully at the exhibition to identify some methods that Aalto used in the development and presentation of his ideas. How did he use drawing and three-dimensional constructions to research, analyse, develop, and test out ideas to develop and refine his thinking? How are drawings and three-dimensional constructions used to help the architect think and to communicate his ideas? main image: Alvar Aalto, Civic Center, Seinäjoki, Finland, Initial sketch of the City Halland Chruch, Image courtesy of the Alvar Aalto Museum Maija Holma above left: Alvar Aalto, A-System Houses, , Drawing of A-System housing, Image courtesy of the Alvar Aalto Museum above right: Alvar Aalto, Aalto s vision of his hometown as the Florence of the North. Proposal for a new church Square, Jyväskylä, 1926 Courtesy of the Alvar Aalto Museum, Drawing Archive, Jyväskylä, Finland Find and make a collection of thumbnail sketches to record examples of different kinds of drawings used for different purposes. Can you find any of the types of drawing listed below? analytical drawing annotated sketch computer-assisted drawing concept sketch design diagram elevation field sketch illustration map observational drawing overlay panorama perspective plan presentational drawing section sketch Find and record different kinds of models made for different purposes. How are models developed as part of the research and development process different from those used for presentation purposes?

8 07 Presentation Find examples of different ways of communicating design ideas through drawing, photographs, 3D and words. What kinds of information and ideas are best expressed through drawing? What kinds of information and ideas are best expressed in three dimensions? What kinds of information and ideas are best expressed through words? Presentation main image: Paimio Tuberculosis Sanatorium, Paimio, Finland , Image courtesy of the Alvar Aalto Museum Martti Kapanen above left: Alvar Aalto, Säynätsalo Town Hall, Säynätsalo, , Section above right: Shigeru Ban model, Villa Mairea, 2006.

9 08 Interpretation Interpretation One of the prominent architects who carries Aalto s legacy forward today is Shigeru Ban. In the aftermath of the Kobe Earthquake, Shigeru Ban and a team of volunteers built temporary housing and a church for quake victims using paper. Paper had been one of the most traditional materials in Japanese architecture, used as panelling for screens and sliding doors, but not as a structural component. Since 1986, when he had incorporated cardboard tubes into his design for an Aalto exhibition in Tokyo, Ban had been developing the idea of making paper, especially recycled cardboard tubes, a sustainable structural material. Inexpensive, easily replaceable, low-tech, producing virtually no waste and aesthetically pleasing with their natural colour, Ban s paper houses proved to be a highly effective solution not only as temporary shelters for disasters but also as a form of housing for the future. The naturalism Aalto found in Japanese art comes full circle in Ban s work, and the two architects are united in their quest for humanising architecture. Installation Look at Shigeru Ban s installation, inspired by Aalto s forms/structural elements. What ideas does this suggest about the work of the two architects? How does this work as a method of interpreting a designer s work? Photography and Digital Imagery Look at both photographs from the Aalto archives and contemporary images, including the photographs in the exhibition by American photographer Judith Turner. How is photography used to interpret the work of Alvar Aalto? How well does this work as a method of interpreting a designer s work? What are key considerations in photographing buildings and interiors? main image: Alvar Aalto, Jyväskylä Workers Club, Jyväskylä, Finland , Interior, hand-rail Judith Turner, 2006 above left: Shigeru Ban, Paper House, Lake Yamanaka, Yamanashi, Japan, North façade, 1995, Image courtesy: Shigeru Ban Architects Hiroyuki Hirai above right: Church of the Three Crosses, Vuoksenniska, Imatra Interior, detail, , Image courtesy of Judith Turner, 2006 Photo credit: Judith Turner Judith Turner

10 09 Students Projects Design and Technology Architecture Interior design Cabin Design a cabin or small house (two rooms plus toilet facilities) suitable for family holidays, to be constructed of natural materials, and using sustainable energy sources, and which fits in well with its surroundings. Make a set of drawings conceptual sketch, plan, elevations, illustrations of interior and design details to show your ideas. Living Room Analyse and appraise your own living room in terms of materials, energy, quality of light, space and relationship with nature. Develop an alternative design, focusing on: ways space is used and arranged; ways in which light is managed; materials, colour and texture of wall and floor surfaces, furniture and fittings; relationship between indoors and outdoors. Credit: Alvar Aalto, Turun Sanomat Building, Turku, Finland, , Image courtesy of the Alvar Aalto Museum Credit: Alvar Aalto, An Ahlström company type houses, Pirkkola, Helsinki, Finland, , Living room furnished with Artek furniture, Image courtesy of the Alvar Aalto Museum Foto-Studio Saurén Product design School Make a SWOT analysis strengths, weaknesses, opportunities (for improvement) and threats (or problems) of lighting, wall and floor surfaces and coverings, furniture, door handles and window fittings in your school. Using the Internet and catalogues from suppliers and shops such as IKEA, Conran, Habitat and B&Q, find and/or design alternatives to improve the quality of the learning environment. Using computer aided drawing techniques, show how these could work better. Drawing for chairs Arbeit Ruhe, Aalto s entry for Thonet Mundus furniture design competition, 1929, Image courtesy of the Alvar Aalto Museum Maija Holma

11 10 Students Projects Art & Design Painting and drawing Built and natural forms Working from direct observation, make a series of drawings to show the relationship between built form and natural form. Develop a series of paintings exploring relationships between buildings and nature. Explore a variety of viewpoints, close to, further away, looking up, down. Think about scale, harmony, contrast, accent, colour and texture. Think about change different times of day, different weather conditions, different seasons. Credit: Alvar Aalto, A row of AA-System Houses , Image courtesy of the Alvar Aalto Museum Installation Architect Choose a contemporary architect. Using the Internet and other relevant sources, collect information about his / her work. If possible, visit any buildings they have designed. What are key ideas that they work with? Using found materials and images, create an installation or three-dimensional artwork that celebrates the work of this architect. Credit: Shigeru Ban, Paper Church, Nagata-ku, Kobe, Japan, Interior ellipse formed by 58 paper tubes, , Image courtesy: Shigeru Ban Architects, Photo credit: Hiroyuki Hirai Hiroyuki Hirai Photography and digital imagery Spatial Relationships Make a series of images of a building to explore the relationship between structures, and volumes, spaces and people. Analyse your images to decide on the key aesthetic (sensory) and design qualities you have discovered. Select a number of your images. Using digital technology, modify them to create a sequence, showing how the space changes as you move through it. Shigeru Ban, Japan Expo 2000, Main exhibition space, upper level Image courtesy: Shigeru Ban Architects Photo credit: Hiroyuki Hirai Hiroyuki Hirai

12 11 key words Keywords In discussing Aalto s work and this exhibition, students might find the following keywords and concepts useful. Students can research using the internet the meaning of any words they are not familiar with. acoustic aesthetic analysis Classicism component construction contemporary context contour model counterpoint craftsmanship critical cultural element environment footprint function integration inspiration installation industrial innovation Modern Movement model modular organic recyclable sensory sensual standardisation structure sustainability symbolism synthesise system tactile technology temporary texture urbanisation Utopia vernacular vision

13 Resources: Websites and Publications Architects and designers Alvar Aalto Alvar Aalto Museum and Jyvaskyla Marcel Breuer Le Corbusier Walter Gropius Frank Lloyd Wright Mies van der Rohe der_rohe.html Furniture Artek Korhonen Furniture Factory Glass Finland Karhula-Iittala Sweden Orrefors Denmark Holmegaard Norway Hadeland Publications for architecture education CABE teaching resources: Teachers Resource 12 Architecture Centre Network resources: Open House publications Adams (2005) Space and Place (The campaign for Drawing). Adams (2006) Shaping Places (Kent Architecture Centre). Adams E. (2006) Getting out there: Art and design local safari guide, A Teacher s guide to using the local built environment. (CABE) (We recommend that teachers check the contents of any websites or other media referenced in this resource. The Barbican Centre cannot be held responsible for the content of external media, including websites).

14 13 Resources: Organisations Architecture for All A joint project between the Royal Institute of British Architects (RIBA) and the Victoria and Albert Museum (V&A), Architecture for All draws on the architectural collections and the specialist expertise of the RIBA and the V&A. Architecture Centre Network (ACN) The Architecture Centre Network (ACN), working in close partnership with CABE, seeks to secure greater knowledge, access, participation and influence, at all levels, in the creation of an excellent built environment for all. Building Centre Events at the Building Centre, links to the bookshop and information about products and suppliers Campaign for Drawing The Campaign is an independent charity that is creating a new regard for the value of drawing to help people see, think, invent and take action. It has established The Big Draw as a popular celebration that takes place throughout October across the UK. Commission for Architecture and the Built Environment (CABE) The Commission for Architecture and the Built Environment (CABE) seeks to promote high standards in architecture and urban design. A series of books published by CABE have been targeted at art, design and geography teachers in secondary schools. Design Museum The Design Museum is the UK s leading museum of modern and contemporary design, architecture and fashion, with a mission of inspiring, informing and educating on design. Open House Open House projects are partnerships working with architects, designers, property owners, artists and the building industry, as well as schools, youth and community groups, to deliver high quality educational projects from which everyone benefits. RIBA Royal Institute of British Architect (RIBA) bookshop Other useful websites Extensive architecture links from the Kent Institute of Art & Design 2&data=arch

15 14 Planning your visit Barbican Aldersgate St St Paul s Beech St barbican Lakeside Wood St Fore St Milton St Silk St Moor Lane Chiswell St Liverpool St Ropemaker St Moorgate London Wall Mansion House Bank Moorfields Moorgate Barbican Art Gallery Level 3 Barbican Centre Silk St London EC2Y 8DS For all group bookings and general enquiries please call the Groups Booking Line on , fax or groups@barbican.org.uk. The telephone booking line is open 10am 5pm, Monday to Friday. Gallery opening times 11am 8pm except Tuesday and Thursday, 11am 6pm Admission 8 / 6 concessions 3 schools and full time student groups of 10 or more, Mon Fri only Teachers / group leaders go free with groups of 10 or more students Dedicated group booking line How to find us Barbican Art Gallery is on Level 3 of the Centre. Enter via the main entrance on Silk St and cross the Foyer to the lift and stairs to reach Level 3. Nearest tube stations: Barbican, Moorgate, St Paul s, Liverpool Street Nearest train stations: Liverpool St, Farringdon, City Thameslink, Barbican, Moorgate Coach: there is a setting down and picking up point in Silk St. Parking is limited to the metered bays in Silk St and Fore St. For further information contact , asking for Parking Services Disabled visitors Barbican Art Gallery is fully accessible for wheelchair users. For full Access information please visit information/disability access. You can also call or the Barbican Access Manager on access@barbican.org.uk /7083. Cloakrooms There is a free cloakroom on Level 3, directly outside the Art Gallery. Toilets There are toilets on Level 3 directly outside Barbican Art Gallery, and in addition on Level 1 for when you are on your way into and out of the Centre. Cafes / Packed Lunches Waterside Café, just off the foyer on Level G, offers full meals as well as sandwiches, drinks and also children s meals. If you have brought packed lunches you can eat in the stalls floor foyer (Level 1) the main foyer (Level G) or outside on the Lakeside where there are plenty of picnic benches and tables. Phones You can find public telephones in the lift lobby just across the road from the Level 1 exit and on Level 2. Further information There is medical assistance available on site at all times. Full evacuation staff are available at all times. Barbican Education has a full CRB child protection policy. If you would like to see the full policy please contact Barbican Education on Please also contact Barbican Education if you would like risk assessment information. Top tips for planning your visit Beforehand Book your visit via our dedicated groups booking line Book at least 4 weeks in advance for a visit on 24 April, 2 May or 10 May and you can also book a free tour. Subject to availability, please call the Groups booking line for times available. Come to our Teachers Evening for art & design and design & technology teachers at KS3 and 4 on Wednesday 14 March 07 see for more details and to book. Preliminary visit Make a preliminary visit before bringing your group. This will enable you to make best use of your visit to achieve your teaching and learning objectives. You should also refer to the gallery floor plan, which is included in this resource, to help you plan your route. If you have any questions during your visit, please speak to a member of the Art Gallery staff who will be happy to help. Planning your visit Use your preliminary visit to plan how your students will use their time. Create your own worksheets we have included some ideas in this resource, but are fully aware that one size will never fit all. At the exhibition Visit the Gallery in groups of no more than 30 students. Make sure they have materials for drawing and note taking. A4 clipboards and paper or sketchbooks would be ideal. Contact We would welcome feedback on the exhibition itself and this teachers resource. We would also love to see any resources you create yourself and any work that your pupils do as a result. You and your students might like to compile a CD and send it to us at the address below. It could contain: Images of students work in progress. Images of completed work. Short report on the ideas that underpinned their work. Credits Alvar Aalto: Through the Eyes of Shigeru Ban Resource for Secondary Teachers Written by: Eileen Adams Edited by: Anna Dent, Barbican Education Alvar Aalto: Through the Eyes of Shigeru Ban curated by Tomoko Sato (Barbican Art Gallery), Shigeru Ban (Architect) and Juhani Pallasmaa (Chairman of the Alvar Aalto Academy). Barbican Education Barbican Centre Silk St London EC2Y 8DS T: F: E: education@barbican.org.uk