[Ajuda] Influência de Alvar Aalto

[caracoleta]

Preciso de ajuda!! Alguém que saiba de uma obra de um arquitecto português onde exista influência directa da Villa Mairea de Alvar Aalto???
É para analisar para um trabalho de teoria............:nervos:



Villa Mairea, 1937 principais características:

Supressão do sotão;
Galeria de arte reunida com sala, transformando-a num espaço multi-funcional;
Projecto dividido em duas plantas, parte social e parte privada;
Principais materiais: pedra, madeira e cerâmica (de acordo com o status de cada ambiente);
Relação constante com a natureza e consequente condução do ambiente externo para o interior;
A forma regular da residência a contrastar com as curvas dos elementos: piscina e sauna;
Dualidade do artificial e natural;
A forma em L da casa e a piscina que conforma um átrio;

[3CPO]

Talvez seja complicado existir uma obra portuguesa com influência directa da Villa Mairea...
Aqui ficam alguns elementos que ajudam a perceber as influências de Alvar Aalto para este projecto...

Abraços


Villa Mairea - Alvar Aalto

Initial ideas

Aalto began work on the Villa towards the end of 1937, and was given an almost free hand by his clients. His first proposal was a rustic hut modelled on vernacular farmhouses, which prompted Maire to exclaim. Early in 1938, however, inspiration came from a radically different source, named Frank Lloyd Wright’s ‘Fallingwater’, which had just received international acclaim thanks to an exhibition at the Museum of Modern Art in New York and publication in Life and Time magazines, as well as in architectural journals. Such was Aalto’s enthusiasm for the design, Schildt tells us, that he tried to persuade the Gullichsens to build their home over a stream on Ahlström land a few miles out of Noormarkku. The influence of Fallingwater is evident in several sheets of studies, which show boldly cantilevered balconies and an undulating basement storey intended as a substitution for the natural forms of the stream and rocks. In later sketches, the free-form basement appears as an upper-floor studio with a serpentine wall sunk into a one-and-half storey entrance hall, orming a drop-ceiling around the fireplace. The undulating, wave-like form was already established as a leitmotiv of Aalto’s work: it was familiar from the vases designed for the Savoy restaurant in Helsinki, and featured prominently in the second-prize-winning entry for the Finnish Pavilion at the Paris World Fair of 1937, named ‘Tsit Tsit Pum’ (Aalto won the first prize with a different design and, never one to waste a good idea, used vast sinuous partitions as the primary spatial device of his masterly design for the New York Fair of 1939.) The free forms of nature were seen as symbols of human freedom, and as early as 1926 Aalto remarked that the ‘curving, living, unpredictable line which runs in dimensions unknown to mathematics, is for me the incarnation of everything that forms a contrast in the modern world between brutal mechanicalness and religious beauty in life. The fact that the Finnish word aalto means ‘wave’ doubtless added certain piquancy to his attraction to the motif. Throughout his early studies for the Villa, Aalto envisaged an L-shaped plan similar to that of his own house in Munkkiniemi (1934-36). There, the ‘L’ shape distinguishes between the house proper and the integral studio; at Villa Mairea, it separates the family accommodation from that of a court / garden variously enclosed by combinations of walls, fences, trellises and the wooden sauna. Demetri Porphyrios has pointed out that this plan form is common amongst Scandinavian aristocratic residences; it was also used, for example, by Gunnar Asplund in his celebrated Snellman House of 1919. Although Aalto’s clients had asked for an ‘experimental’ house, it is significant that he first envisaged it as a reversion to a vernacular form, and then as a variant on a familiar plan type; in embodying a vision of the future, Aalto is at pains to endow the dwelling with strong memories of the past.

The ‘Proto-Mairea’

In the early spring of 1938 the Gullichsens approved a design which Schildt has called the Proto-Mairea, on the basis of which construction began in the summer. The plan established the basic disposition of accommodation found in the finished house, with the dining situated in the corner between the family rooms and the servants' wing, and the bedrooms and Maire’s studio upstairs, the latter originally expressed as a free-form curve in elevation, rather than plan. Aalto’s analysis of the activities to be accommodated produced a schedule of reception rooms which included an entrance hall with an open fireplace, a living room, a gentlemen’s room, a ladies’ room, a library, a music room, a winter garden, a table tennis room and an art gallery. It lead more like the programme for a Victorian country house than a demonstration of the social-democratic dwelling of the future, and Aalto was far from satisfied with the design. A young Swiss student working in his office at the time recalls that he used to scold the model like a naughty dog, explaining to her that ‘those people don’t need so many rooms’. After the foundations had been excavated Aalto had a new idea and was able to persuade his clients to accept a radical redesign in which only the plan footprint and servant wing remained more or less intact. The basement was greatly reduced in area, and the main entrance moved from its curious position at the side and rear to a much more obvious location in front of the dining room. Marie’s studio was re-positioned to occupy the place above the former entrance canopy, whose shape it echoes, and the various reception rooms were accommodated in a large 14 metre-square space. The separate art gallery was removed and its place taken by the sauna, which nestles against a low L-shaped stone wall, the remainder of the original wall and trellis being replaced by a short fence and earth mound. Harry Gullichsen’s only objection to the revised design was the lack of a separate library where he could hold confidential business meetings, for which Aalto proposed a small room screened by movable shelving units which did not reach the ceiling. Aalto suggested that these units could also be used for storing Maire’s art collection – an idea which, he pointed out, should be ‘socially supportable as it could be realized in a small, even single room, dwelling’ where the inhabitant has ‘a personal relationship to the phenomena of art’. Not surprisingly, this arrangement did not offer the necessary acoustic privacy and the shelving units were permanently sited (although not actually fixed), with one angled to suggest frozen movement; the gap under the ceiling was filled with an undulating glazed screen.

[bitaites]

Procura casas do Siza! Mesmo que a planta não seja um ´L´vais de certeza encontrar imensas semelhanças. O importante parece-me ser a ideologia que está por trás e nisso Asplund, Alvar Aalto e Siza, relacionam-se directamente. Espero ter ajudado. Cumprimentos

[asimplemind]

claro que sim, não estejas à procura de uma copia "à la carte" da casa mairea. Aquilo que interessa descobrir é partir do estudo da casa Mairea, das suas ideias, da concepção dos espaços, do carácter orgânico e de obra de arte total e transpôr isso para uma obra portuguesa que se identifique nesses aspectos. Seguramente que grande parte da obra do siza está intrinsecamente ligada à villa mairea.