Kenzie Gallagher

James Givens

ARCH 201

20 October 2023

ARCH 201 Term Paper

The Villa Mairea, Pori Finland, by Alvar and Aino Aalto (1938-1939)

Introduction

The Villa Mairea was built in 1939 by Alvar Aalto in Pori, Finland. It was originally built to serve as the home of Maire and Harry Gullichsen. It is located in the Noormarkku Ironworks area. Hugo Alvar Henrick Aalto is a Finnish architect and designer. He studied architecture at the Technical Institute of Helsinki and graduated in 1921. He was born in 1898 in Kuortane, Finland, which was part of the Russian Empire at the time. He never thought of himself as an artist, seeing his work as “branches of a tree whose trunk is architecture.” His philosophy was that “human emotion and natural forms could be used as a source of organic architecture and design while also remaining rationally and structurally modern.” (McLellan, 2022). During the time that The Villa Mairea was constructed, the Soviet Union had launched an attack on Finland, beginning the Russo-Finnish War. Aalto’s inspiration for this villa came in part from Frank Lloyd Wright’s “Fallingwater”. Although Aalto is an architect, he is also an interior designer, and his designs are still in use and featured in many houses and buildings to this day. Aalto uses the free forms of nature as symbols of human freedom, and frequently incorporates this idea into his work. The goal of Aalto’s creations is to contrast “the modern world between brutal mechanicalness and religious beauty in life.” (Architectuul, 2023). This is seen in everything he creates, with transitions and attention to detail that outshine many other architectural feats in terms of life space, transitions, and overall harmony.

Alvar Aalto, architect:

• Born in 1898
• Studied architecture at the Helsinki University of Technology
• Fought in the Finnish War of Independence with the White Army
• Built his first piece of architecture in 1921
• Married Aino Marsio in 1925, who died of cancer in 1949
• Married Elissa Aalto in 1952
• Began sculpting during the 1950s

Finnish history during the build of The Villa Mairea:

• In August of 1939, Nazi Germany and Soviet Russia agreed that Finland belonged to the Soviet Union
• The Finnish refused and Russia launched an attack in November of 1939
• Finland lost and was forced to sign the Treaty of Moscow in March of 1940, giving up 11 percent of their territory to the Soviet Union
• WWII continued until 1944 as Continuation War between Finland and Russia
• In 1948, a “friendship treaty” was signed between the Soviet Union and Finland

Pictured (from left to right): Alvar Aalto. Aalto and his first wife, Aino

The building of The Villa Mairea:

• Located in Noormarkku, Finland

• The first proposal for the build was created in 1937 and featured a rustic hut modeled on vernacular farmhouses
• In 1938, the design was altered to include bold balconies and an undulating basement as a substitution for the flow of streams inspired by Frank Lloyd Wright’s Fallingwater
• The L-shape design was approved in 1938 by Harry and Maire Gullichsen, it was called the Proto-Mairea
• The construction system focuses on plastered brick walls and wood siding
• It is a modern-style home that was requested to be an “experimental project” for Aalto, which allowed him to push the boundaries of traditional architecture (ArchEyes, 2016).
• The final build was completed in 1941

                           Pictured above: Floor plans for The Villa Mairea

Description of the Site and Larger Context

Finnish Politics:

• During the planning and construction of The Villa Mairea, Finland was fighting the Winter War with the Soviet Union for their freedom from Soviet Russia. The war started in 1939, three months after the outbreak of WWII, and ended in 1940 with the signing of The Moscow Peace Treaty

Surrounding Landscape:

• The Villa Mairea was constructed in Pori, Finland
• Southwestern Finland has a humid continental climate (Dfb)
• It is relatively flat (as pictured below)
• Pori is known for its summer events, which bring in around half a million visitors from around the world every year
• Pori is on the coast of the Baltic Sea in West Finland, off the Gulf of Bothnia
• Finland is also called “the land of a thousand lakes”, which can be seen as true in the middle picture below
• Summers are comfortable while winters are long and cold, long, and snowy

Pictured above: land area and layout of The Villa Mairea

Mairea Foundation:

• Founded in 1980

• The Maira Foundation’s aim is to preserve the cultural values of The Villa Mairea
• It arranges guided tours of the building and is in charge of the collections and archives of the house
• Maira Foundation is part of the Iconic Houses Network and Alvar Aalto Route

Supporting Activities and Purposes

Original purpose:

• The original purpose of The Villa Mairea was to be a modern residence for Maire and Harry Gullichsen, who were lovers and promoters of art
• The architectural style follows the Modern Movement
• The main things that were to be included in the house:

• A courtyard differentiated from the pine trees surrounding the house
• Residential areas connected by a domestic service
• A separate bedroom and sauna wing
• Social and private aspects throughout the house
• A number of living spaces that included art exhibits but still had residential function

Pictured right: Floor plan for the Villa Mairea

Special requirements:

• The Gullichsens asked Aalto to build this house as an “experimental project”
• Harry asked for a library separate from other rooms where he could hold private meetings
• Aalto also challenged himself to find uses for each room in which every inhabitant could find a more personal connection with the space
• The L-shape of the house was meant to help distinguish between the house itself and the integral studio, as well as the family accommodation from the courtyard and pool area
• Aalto wanted to incorporate a smooth transition between the house and the nature surrounding it, so he used the concept of “waves”, both a spiritual concept and a physical aspect of the house, to form this connection
• The Gullichsens also requested areas where they could display their art collections
• The goal was to achieve compression and coherence in the spatial organization

Additional uses for The Villa Mairea:

• While there are no real additional uses for the villa because it was created to be a residence, it was used as a sort of art exhibit, a place for small social gatherings, and after the deaths of those who lived there, it has now become a tourist destination

Responding to Context

Five principles that had the strongest influence on the design of The Villa Mairea:

1. Embody the spirit of the context (its moods, rhythms, unique qualities)

1. Similar to Fallingwater, Alvar Aalto’s Villa Mairea enhanced the features around it. The area surrounding the house is full of trees and other natural elements. Instead of disrupting the natural flow, the villa fits into it and flows with it. Frank Lloyd Wright points out about Fallingwater, “no one noticed that it was a particularly beautiful site until the house was built. Then as the depth planes came into play… they began to realize how beautiful it really was. When… architecture is properly carried out no landscape is ever outraged by it but is always developed by it.” (Kleinsasser, 1990). The same is true for Aalto’s Villa Mairea. The best example of this is noted in the picture of the curved wall and wood walls above. Aalto used concepts from the surrounding area to make the transition between the building and the nature around it smoother.

                        Pictured above: outdoor and patio views of the villa

2.  Make connections

1. This principle focuses on establishing opportunities for people to see, feel, and otherwise realize the specific features and phenomena of the context. This principle also allows occupants of the given building to feel as if they belong in the place like the transition from outside to inside is not too abrupt. The example used in Synthesis 9 is the original Gerlinger Hall at the University of Oregon. “Occupants of old Gerlinger see the adjacent grassy field, people passing and playing, the Pioneer Cemetery and its fir trees, the weather, the sunlight, the sky: the particular place.” (Kleinsasser, 1990). In a similar way, The Villa Mairea has large windows that give people the opportunity to enjoy the surrounding nature and feelings while still being indoors. It is a place for contemplation, belonging, and understanding.

                  Pictured above: indoor and outdoor window views of The Villa Mairea

3. Establish necessary transitions

1. Establishing necessary transitions is incredibly important when designing architecture. The goal is to create smooth transitions that feel natural and comfortable. The Villa Mairea does a good job of this by using in-between spaces and paying special attention to detail. Henry Mercer discusses this transition more literally in Synthesis 9 as he describes the movement from one part of the house to the other, all the while building up a more personal connection between the building and the occupant. A short snippet of his reflection reads, “... On the banks of the terrace there are flowers and the flowers must be fresh. Beyond the flowers is a wall and the wall must be low. By the side of the wall, there is a pine tree and the pine tree must be old. At the foot of the pine tree there are rocks and the rocks must be quaint. Over the rocks there is a pavilion and the pavilion must be simple…” (Mercer, 1960). He describes that these are the elements that create “a good house”. The transitions from place to place will determine the level of ease at which a person enters the space. The wooden side panels and cobblestone paths are some of the many ways Aalto does this in his work.

                        Pictured above: the entryway and patio transitions

4. Responding to sunlight

1. Sunlight is one of the most important aspects to incorporate into a piece of architecture. It gives humans a feeling of life, energizes them, and makes the building feel comfortable, and using sunlight can make or break the feeling of the space. In Aalto’s Villa Mairea, sunlight is used to make the area feel more spacious. The addition of sunlight highlights the wood features of the house, making it feel warm and inviting. The designs, patterns, textures, and colors of the structure all depend on the light. It is an element that is constantly changing, which means architectures need to adapt accordingly, and this is something that Aalto does a great job of. It can add emphasis to certain areas of a room and cast shadows on others, bringing out the true natural form of the creation. He does this by “making bright spots that punctuate and compliment the high, open interior.” (Kleinsasser, 1990). The L-shaped plan also supports the integration of sunlight.

                       Pictured above: the areas where sunlight elevates the space

Pictured above (left to right): the library, kitchen, and outdoor dining area of The Villa Mairea

5. Life Space

1. Life space is defined as “the precise network of facilities, qualities, and opportunities needed by people if they are to achieve their full potential as human beings.” (Kleinsasser, 1990). Synthesis 9 uses the example of a house in the desert as compared to a house in an easily accessible place that would be suitable for most people. Life space means that the people in the house have access to facilities, services, etc. that they need to support their lives. Life space varies from person to person, so it is important that an architect takes this into account. The Villa Mairea, while created as a simple residence for Harry and Maire Gullichsen, is a space that can be used by others with ease. There are living areas, libraries, recreational spaces, and easy access to outward facilities if need be. While an area should support different people, it should also support their individual changes.

Pictured above: examples of life space in the Villa Mairea

Establishing Longevity

Spatial Dualities:

• Variation of rooms and room uses. For example, a living room that doubles as a dining area or a library that doubles as an art gallery.
• Outdoor areas have separate spaces for different uses. The outdoor courtyard has a pool and outdoor dining area, as well as covered and uncovered areas.
• The multi-use functions of each space allow each occupant to find a place room where they are comfortable, regardless of where in the house they are located.

The In-Between Domain:

• While each room has a different use, they are all separated by in-between domains. The in-between domain makes the transition from room to room more smooth.
• The hallways and stairs (pictured below) of the villa are lined with wood to bring an inviting, warm feeling to these transitions. The windows are large and abundant, allowing occupants to feel like they are still part of nature while they are indoors. The doors feature attention to detail, namely the front door, which welcomes guests by sparking their interest immediately.

Support for interaction and retreat:

• There are many areas designated for established activities (kitchen for cooking, living room for sitting, etc.), but there are also areas for retreat.
• The living room (pictured below) features a piano and bookshelf in addition to the regular fireplace and couches, this allows people to interact with the space but also gives them the opportunity to use the room as an area for relaxation and comfort.
• The villa’s library (pictured below) displays shelves of books and desks with chairs for studying and education, but also features cozy armchairs and large windows. These elements provide an option for comfort and retreat while also offering elements of activity.

Achieving Clarity and Wholeness

Achieving clarity and wholeness is important in bringing the space all together in an inviting, complete way. William Kleinsasser, author of Synthesis 9, explains this concept as “Creating both diversity and unity: so that people might say, ‘... the components of this place have their own identity, yet they are interdependent and form a synergistic whole.’” (Kleinsasser, 1999). There is also a quote included in the description by Blaise Pascal, which reads, “Unity which does not depend on diversity is tyranny; diversity that does not merge into unity is negation.” (Pascal, 1866). In order to achieve unity, you must incorporate diversity. Too much similarity will lead to repetition and boredom, so incorporating different elements is important. But the end goal is to bring all of these elements together to create one whole space, unified and clear.

1. Arrange spaces harmoniously around a coalescent space

1. Alvar Aalto arranged the Villa Mairea in a way that supports both the busy and empty features, bringing them together. Synthesis 9 uses the example of the Tivoli Gardens, which feature a small lake that joins lots of other busier parts together. A similar concept can be seen in the courtyard (pictured right) of the Villa Mairea, where Aalto built a pool that seemingly connects the house to the trees and nature behind the yard, creating a smooth interruption.

2. Reveal the primary structure

1. Revealing the primary structure means allowing occupants to see the foundation of the building. One of the examples used in Synthesis 9 is “The reinforced concrete system in the church by August Perret at Raincy near Paris.” (Kleinsasser, 1990). The image displayed shows a structure with large windows and a ceiling which reveals beams that hold up the building itself. In most structures, the foundation is hidden from view because it is often considered one of the unattractive aspects of architecture. But Kleinsasser offers a rebuttal, saying that the primary structure of a building has the ability to elevate the space in some cases. This can be seen throughout Aalto’s Villa Mairea with beams on the inside and outside (pictured left) supporting the structure that are visible to occupants and add an element of humanity to the building.

3. Establish a pervasive condition of sunlight within

1. As highlighted previously, sunlight is one of the most important aspects to incorporate in architecture. Sunlight allows occupants of the structure to still feel like they are connected to nature and exposure to sunlight boosts their mood. The Villa Mairea does a fantastic job of incorporating sunlight throughout the space. The primary way that Aalto does this is by including an abundance of windows. There are windows in every room of the house, which not only allow sunlight into the house but provide access to nature while still indoors. Synthesis 9 uses Mercer’s Museum as an example of this. “Changing sunlight is shared by all spaces, surfaces, and edges in Mercer’s Museum (electric lights were not installed).” (Kleinsasser, 1990). By adding windows and using materials inside that help welcome sunlight, the structure is elevated by including outside lighting.

4. Create a pervasive contextual presence by making many contextual connections

1. The final way Alvar Aalto’s Villa Mairea achieves clarity and wholeness is by creating a contextual presence. This means that Aalto uses the context around the building and brings it within, incorporating the structure seamlessly into the nature around it and vice versa. This is another essential feature of a piece of architecture. The transition between outside and inside should be smooth and the change should be bold enough that occupants feel like they are in a home, but not drastic enough that they become disconnected from the environment. People must feel like the home and the surrounding landscape are one. Alvar Aalto used Fallingwater as an inspiration for the Villa Mairea, and Kleinsasser uses Fallingwater as an example of this concept. “The forest is every present in Fallingwater; thus, in this sense, all parts of the house are one.” (Kleinsasser, 1990). By incorporating windows, wood, and plants, the inside and outside of the Villa Mairea are fused together.

Integrating Construction

Structure:

• The structure of the Villa Mairea is based on the idea of waves and curves
• L-shape
• Two clear-cut, inclusive floor plans (pictured right): a top floor for private life and a ground floor for entertaining.
• Traditional, almost orthodox exterior
• Stone pathways and irregular wood columns
• Flat roof, small ribbon windows, organic shape
• Use of the surrounding forest as inspiration
• Large windows throughout to let in sunlight and provide views of the nature outside
• Open fireplace, comfortable chairs, and warm lighting
• Ground floor: kitchen, living and dining rooms, and library
• Top floor: painting studio, bedrooms, and guestrooms

Materials:

• “Aalto’s palette of materials combines wood, painted and exposed bricks. Stone, plaster, ceramic tiles, glass, and rattan.” (Mirarchi, 2020).

• The dark wood contrasts with the white brick on the outer structure (pictured below)
• Stone walkways and floors, as well as wooden tile floors
• Birch tree trunks outline the stairs
• Steel columns are painted black and wrapped in wicker (pictured below)
• Brass and leather door handles
• Steel beams painted white
• Ceiling crafted from long saplings
• Local Finnish materials

Details:

• Grass on top of the pergola and sauna roof and vines wrapping up the columns inside and outside incorporate nature throughout the house
• Concept of ever-changing technology
• “Aalto purposely makes each column different, ‘to avoid all artificial architectural rhythms.’” (Sveiven, 2010).
• Focus on the transparency of nature and sunlight
• Wave-like glass panes that line the upper section of the walls
• Feels like walking through a forest: blurs the line between indoors and outdoors

Pictured above: the columns, outside view, and front entrance of the Villa Mairea

15 Properties of Wholeness

In Christopher Alexander’s book, The Nature of Order, he highlights 15 Properties of Wholeness. These properties are concepts of centers. Each center is a part of a whole, and combined with other centers, creates a whole. Alexander “emphasizes the idea that a whole makes its parts, rather than the idea that a whole consists of parts.” (Iba and Shingo, 2015). There are five of these fifteen properties that are displayed in Alvar Aalto’s Villa Mairea. They are explained below.

1. Alternating repetition (rhythm)

1. Alternating repetition occurs when centers repeat to form a local array. The repetition may be that of similar shapes, size, patterns, etc. This can be seen in many different features throughout the villa. For example, the upper portion of the walls show repeating window panes that can be seen throughout the house (pictured right). There is also a repetition of log, narrow wood supports around the stairs, entrance, and ceilings. This center relates to strong centers, positive shape, good space, deep interlock and ambiguity, contrast, and not-seperateness.

2. Roughness

1. The roughness property is used to bring everything together. In some cases, when a building is too neat or put-together in a way, there is a necessity for the addition of contrast and texture. In a way, adding imperfection can elevate the structure. This can be seen in the nature surrounding the villa (pictured left), which adds imperfections on the exterior of the house. These natural elements are also incorporated inside the house. This property works with strong centers, positive space, good shape, gradients, simplicity and inner calm, and not-seperateness.

3. Contrast

1. Contrast is a property that can apply to more than just color. It could be contrast of density, material, gradient, etc. Using contrast helps the structure to stand out more. In the case of the Villa Mairea, contrast is one of the most prominent properties. The contrast between materials is apparent, but the contrast between colors is even more so. The whites of the walls, browns of the wood on the floor and furtniture, and black of the columns and decor (see below) spread throughout the house creating a comfortable contrast that draws the attention of occupants without making them feel overwhelmed. This property is enhanced by boundaries, positive space, deep interlock and ambiguity, graidents, the void, and not-seperateness.

Pictured above: the living room and outside view of the villa

4. Simplicity and Inner-calm

1. The inner-calm property is something of a clean-up tool. It relates to the Occam’s razor theory, which explains that if you have an option between two different things, you will be more inclined to pick the simpler one. This is a property of simplicity. When there is less going on, less chaos, less visible detail and fewer elements, the space feels tranquil. Aalto’s Villa Mairea is a perfect example of this. The immediate simplicity of the space is what makes it so attractive. This can be seen in the lack of business throughout the house (pictured right). This property relates to good shape, local symmetries, echoes, the void, and not-seperateness.

5. Not-seperateness

1. This transformation happens after all other properties. It links all other centers together, creating a whole. It softens the harshness of transitions and boundaries. In the Villa Mairea, this property is achieved through the transition from inside to outside. The villa itself is surrounded by a forest, and one of the things Aalto made a top priority in this structure was the feeling of still being outside in the forest while occupants were inside. In order to do this, Aalto incorporated local materials, including wood from trees within the surrounding forest itself. The columns surrounding the stairs (pictured above) and the column throughout the house give a feeling of being in the same room as the trees. The large windows also allow views of the forest to be seen from inside, expanding on the feeling of still being in nature. This property works with boundaries, positive space, deep interlock and ambiguity, gradients, roughness, the void, and simplicity and inner-calm.

Pictured left: the living room and surrounding forest of the Villa Mairea

Works Cited

Aacd. “The Nature of Alvar Aalto’s Villa Mairea.” AACD, 16 Nov. 2015, aacdas.wordpress.com/2015/11/16/the-nature-of-alvar-aaltos-villa-mairea/

Alexander, Christopher, and David Chaplin. The Nature of Order. DAC, 2019.

Chapple, A. (2019, December 2). Winter War: The 1939 Soviet invasion of Finland in crystal-clear photos. RadioFreeEurope/RadioLiberty. https://www.rferl.org/a/finlands-winter-war-with-the-soviet-union/30280490.html 

Holmstad, Øyvind, and Michel Bauwens. “The Fifteen Geometric Properties of Wholeness.” P2P Foundation, 7 Dec. 2015, blog.p2pfoundation.net/the-fifteen-geometric-properties-of-wholeness/2014/03/01.

Iba, Takashi, and Shingo Sakai. “Understanding Christopher Alexander’s Fifteen Properties of Wholeness via Visualization and Analysis.” PURPLSOC: The Workshop 2014, Keio University, June 2015, web.sfc.keio.ac.jp/~iba/papers/PURPLSOC14_Properties.pdf.  

Kleinsasser, W. (1990). Synthesis 9: A structure of principles for architectural design. University of Oregon

Locantore, Donato, director. INSIDE THE VILLA MAIREA. YouTube, YouTube, 7 July 2015, https://www.youtube.com/watch?v=9Un43SFS1hs. Accessed 30 Nov. 2023.

Magazine, A. (2023, August 15). Villa Mairea in Finland: A masterpiece by Alvar Aalto. https://archeyes.com/villa-mairea-alvar-aalto/ 

McLellan, L. (2022, July 19). Who was Alvar Aalto and what was his impact on design?. Home Stratosphere. https://www.homestratosphere.com/alvar-aalto-design/

Mirarchi, Valeria. “Light at Home: Villa Mairea.” Luciforma Architectural Lighting Design, Luciforma Architectural Lighting Design, 13 Apr. 2020, www.luciforma.com/lightathome/villamairea.  

Sveiven, Megan. “Ad Classics: Villa Mairea / Alvar Aalto.” ArchDaily, ArchDaily, 28 Oct. 2010, www.archdaily.com/85390/ad-classics-villa-mairea-alvar-aalto.

Vila Mairea. Architectuul. (n.d.). https://architectuul.com/architecture/vila-mairea