Downloaded by [Central Uni Library Bucharest] at 03:22 26 September 2013 ENCYCLOPEDIA OF 20TH-CENTURY ARCHITECTURE Downloaded by [Central Uni Library Bucharest] at 03:22 26 September 2013 Board of Advisors Diana Agrest Agrest and Gandelsonas Architects Nezar AlSayyad University of California, Berkeley Eve Blau Harvard University Robert Bruegmann University of Illinois-Chicago William Brumfield Tulane University Jeffrey Cody Chinese University of Hong Kong Nnamdi Elleh University of Cincinnati Stephen Fox Rice University Kenneth Frampton Columbia University Diane Ghirardo University of Southern California Michael Graves Michael Graves and Associates Downloaded by [Central Uni Library Bucharest] at 03:22 26 September 2013 Renata Holod University of Pennsylvania Steven Izenour† Venturi, Scott Brown, and Associates Richard Longstreth George Washington University Christian F.Otto Cornell University Michèle Picard Montreal, Quebec Beth Savage National Register of Historic Places Franz Schulze Lake Forest College Denise Scott Brown Venturi, Scott Brown, and Associates Helen Searing Smith College Joseph Siry Wesleyan University Martha Thorne The Art Institute of Chicago Dell Upton University of California, Berkeley Downloaded by [Central Uni Library Bucharest] at 03:22 26 September 2013 ENCYCLOPEDIA OF 20TH- CENTURY ARCHITECTURE Volume 3 P-Z Index R.Stephen Sennott, Editor Fitzroy Dearborn New York London Downloaded by [Central Uni Library Bucharest] at 03:22 26 September 2013 Editorial Staff Sponsoring Editor: Marie-Claire Antoine Development Editor: Lynn M.Somers-Davis Editorial Assistant: Mary Funchion Production Editor: Jeanne Shu Published in 2004 by Fitzroy Dearborn An imprint of the Taylor & Francis Group 29 West 35th Street New York, NY 10001 Published in Great Britain by Fitzroy Dearborn An imprint of the Taylor & Francis Group 11 New Fetter Lane London EC4P 4EE Copyright © 2004 by Taylor & Francis Books, Inc. Fitzroy Dearborn is an imprint of the Taylor & Francis Group. This edition published in the Taylor & Francis e-Library, 2005. “To purchase your own copy of this or any of Taylor & Francis or Routledge’s collection of thousands of eBooks please go to www.eBookstore.tandf.co.uk.” All rights reserved. No part of this book may be reprinted or reproduced or utilized in any form or by any electronic, mechanical, or other means, now known or hereafter invented, including photocopying and recording, or in any information storage and retrieval system, without permission in writing from the publisher. 10 9 8 7 6 5 4 3 2 1 Library of Congress Cataloging-in-Publication Data Encyclopedia of 20th-century architecture/R.Stephen Sennott, editor. p. cm. Includes bibliographical references and index. ISBN 1-57958-243-5 (set: alk. paper)—ISBN 1-57958-433-0 (vol. 1: alk. paper)—ISBN 1-57958-434-9 (vol. 2: alk. paper)—ISBN 1-57958-435-7 (vol. 3: alk. paper) 1. Architecture, Modern—20th century—Encyclopedias. I. Title: Encyclopedia of twentieth-century architecture. II. Sennott, Stephen. NA680.E495 2004 724′.6′03–dc22 2003015674 ISBN 0-203-48388-X Master e-book ISBN Downloaded by [Central Uni Library Bucharest] at 03:22 26 September 2013 ISBN 0-203-59315-4 (Adobe e-Reader Format) ISBN 1-57958-243-5 (Set) CONTENTS Entries A–Z 1 Notes on Contributors 1018 Index 1042 Downloaded by [Central Uni Library Bucharest] at 03:22 26 September 2013 Downloaded by [Central Uni Library Bucharest] at 03:22 26 September 2013 P PAIMIO SANATORIUM Designed by Alvar Aalto and Aino Aalto; completed 1933 Paimio, Finland The Tuberculosis Sanatorium in Paimio, Finland, the contract won in competition by Finnish architects Alvar and Aino Aalto in 1929, completed in 1933, synthesized two potent modernist agendas. First, the design embraces modernism’s utopian social commitment and its deep confidence in rational design processes. Second, the building expresses explicitly the elemental organizational tactics of functionalist architecture and its concomitant machine imagery. Metaphorically, if Le Corbusier’s Villa Savoye was a machine for living in, the Aaltos’ Paimio Sanatorium was a machine for becoming healthier in. Following World War I, avant-garde architects proclaimed the emergence of a spirited and vital new, modern age. This was to be a more orderly and healthy age, brought forth by applying the lessons of modern industrial technique and rational thinking to the outlived historicism of prewar architecture as well as to the disorder and squalor of existing urban environments. Rooted in a strong sense of social commitment and relying on the effectiveness of serial production and rational processes as design strategies, modern architects sought a better, healthier world. The Aaltos’ Tuberculosis Sanatorium at Paimio was both a symbol of the social role of the new architecture and a potent visual paradigm of the new world that modern architecture intended to bring into being. Sun. Light. Fresh air. The physical presence of these natural elements informed the basis of building design and engendered the qualities of good health associated with modernist social thinking. Moreover, as a polemic, sun, light, and fresh air were vital images of the modern, healthier world. Few other building types were as convincing a symbol of modern architecture as was the sanatorium. The actual medical treatment for tuberculosis at the time—lots of sun, light, and fresh air—provided a strong image base for the design of the building and coincided with the metaphor of “health” central to Downloaded by [Central Uni Library Bucharest] at 03:22 26 September 2013 modernist thought. The completion of the Paimio Sanatorium acknowledged Alvar Aalto’s prominent place among the modern architects of the day because it bore witness to his understanding and mastery of modernism’s social as well as compositional tenets. However, the sanatorium was not the Aaltos’ first modernist work. Having fostered connections to the international avant-garde in the mid-1920s, they moved their office to Encyclopedia of 20th-century architecture 2 the city of Turku in 1927 and completed two important “functionalist” works. “Functionalism” was the term used by Finnish architects to label the new, modern architecture. The first important work was the Standard Apartment Building in Turku (1929), and the second was the Turun Sanomat Newspaper Building (1927), which was the first work in Finland to incorporate Le Corbusier’s “Five Points of a New Architecture,” setting the Aaltos apart from their contemporaries. During this period, the Aaltos were active advocates and propagandists for Finnish functionalism. Conceptually, the Paimio Sanatorium is a straightforward modernist composition: an articulated but linked set of relatively discrete functional elements expressed in both plan and volumes. The building complex is functionally zoned, with each element placed in the landscape according to its requirement for sun and view. The primary functional elements include the patient’s wing, comprised of an elongated suite of rooms with an open-air terrace extension, and the communal dining and assembly areas. These two pieces are linked by a seven-story volume, the entry, and control area, which houses the vertical circulation. A circulation passage connects through these elements to the service area—with its expressed water tank, smokestack, and staircase—which in turn joins the garage. The housing units for both the doctors and the staff are separated from the main building, being located in the surrounding forest. We have, then, the rational and orderly composition of differing human activities rendered into a highly visible and expressed set of spaces and forms. The Aaltos employed the material vocabulary that came to be associated with the modernist machine aesthetic: concrete, white stucco, steel, and glass. The overall image of the building comes from its concrete frame rendered in white stucco. The whiteness not only stands in contrast to the fir forest setting in which it is located but also provides an image of cleanliness and healthiness. Each activity volume incorporates a different glazing pattern to articulate its particular function, further reinforcing the elemental nature of the organization. The industrial glazing, with its steel sash and serially produced image, complements the pipe-rail balustrades painted in primary colors; the bright, colorful awnings; and other machined elements that give the building a somewhat nautical quality. Despite its mechanistic appearance, Paimio went beyond the conventions of modernist elemental composition. Volumetrically and in plan, its discrete elements are not unified geometrically or orthogonally, as in Gropius’s more regularized Bauhaus building (1926), but form a more haptic pattern: a chain of architectural pieces in the landscape. Eschewing the modernist tendency to place buildings as isolated elements on the landscape, Paimio appears as a dialogue between the internal world of space and activity and the exterior concerns of context and form. For example, the patient wing and communal areas splay away from each other to form a cour de hounor, allowing the entry court with its undulating canopy to gain more spatial prominence. Although the white, Downloaded by [Central Uni Library Bucharest] at 03:22 26 September 2013 rational image stands in contrast to the deep green forest, the sanatorium is actually a sun trap. The patient wing, facing southeast, provides each patient with morning sunlight. The open-air terraces at the east end of the wing have been rotated