Alvar Aalto

ABSTRACT: A vigorous nomination of properties representing vernacular and recent heritage for listing as World Heritage Sites has been motivated by the finding of the under-representativity of the previous two pat-terns on the World Heritage List, WHL. The projects that Hassan Fathy designed in Egypt, particularly New Gourna Village, are significant examples of the previous two patterns that enjoy exceptional heritage qualities. One of the major aspects that contribute to New Gourna’s exceptional heritage qualities is the humane consid-erations in Hassan Fathy’s design. Nevertheless, none of the projects that Hassan Fathy designed has been in-scribed as a World Heritage Site, WHS. The main aim of this study was to discuss the contribution of Hassan Fathy’s humane considerations in design to the outstanding significance of New Gourna. This study also aimed at discussing the potential criteria that can be adopted to justify New Gourna’s Outstanding Universal Value on the basis of the humane considerations in its design. The previous aims were achieved by means of a thorough exploration of the humane considerations in Hassan Fathy’s design of New Gourna. The findings re-vealed the significant contribution of Hassan Fathy’s humane considerations in the design of New Gourna to its outstanding universal significance. The study recommends adopting the World Heritage Centre’s criterion (i) to justify New Gourna’s Outstanding Universal Value, OUV, on the basis of the humane considerations in its design.

1. PENDAHULUAN Secara prosentase, kontribusi sektor pertambangan dan penggalian terhadap Produk Domestik Bruto termasuk relatif kecil daripada dengan sektor lain, yaitu (0,36 % per tahun), tetapi secara angka ternyata cukup mengejutkan (427 milyar rupiah dalam kurun 1996-1999). Namun demikian, khusus konsumsi bahan galian batu gamping ternyata relatif stabil, tidak terganggu oleh tingkat ekonomi yang semakin terpuruk. Hal ini ditunjukkan oleh kebutuhan batu gamping untuk bahan baku semen masih tetap menjanjikan. Jumlah penduduk yang semakin dewasa dan bertambah setiap tahun (2%) merupakan alasan bahwa kebutuhan rumah sebagai sarana tempat tinggal masih tetap pilihan nomor satu. Industri lain pemakai batu gamping memegang peran yang tidak dapat dipisahkan karena konstribusi terhadap total konsumsi cukup nyata, seperti industri pertanian, kertas dan banyak lagi yang lain. Kondisi iitu, secara tidak langsung memberikan dampak positif bagi pengusahaan pertambangan batu gamping. 2. GEOLOGI DAN PENAMBANGAN 2.1 Mula Jadi Batu gamping dapat terjadi dengan beberapa cara, yaitu secara organik, mekanik, atau kimia. Di alam, sebagian besar batu gamping terjadi secara organik dan umumnya mempunyai nilai ekonomis. Jenis ini berasal dari pengendapan rumah kerang dan siput, foraminifera (ganggang), atau kerangka binatang koral/kerang. Mula jadi batu gamping secara mekanik bahannya hampir sama dengan secara organik. Yang membedakan adalah terjadi perombakan terhadap bahan gamping kemudian terbawa arus dan diendapkan tidak jauh dari tempat semula. Sementara secara kimia batu gamping terjadi dalam kondisi iklim dan suasana lingkungan tertentu dalam air laut atau air tawar. Endapan batu gamping disebut endapan sinter kapur, apabila pengendapan terjadi karena peredaran air panas alam yang melarutkan lapisan batu gamping di bawah permukaan, kemudian diendapkan kembali di permukaan bumi. Magnesium, lempung dan pasir adalah unsur pengotor yang mengendap saat proses pengendapan. Keberadaan pengotor memberikan klasifikasi jenis batu gamping. Persentase unsur pengotor sangat berpengaruh terhadap warna batu gamping mulai dari warna putih susu, abu-abu muda, abu-abu tua, coklat bahkan hitam. Warna kemerah-merahan disebabkan oleh adanya unsur mangan sementara kehitam-hitaman disebabkan oleh adanya unsur organik. Mineral pengotor lain yang terdapat pada batu gamping tetapi dalam jumlah yang lebih sedikit adalah magnesit; kuarsa; feldspar; (kaolin, illit dsb); besi (hematit, ilmenit); dan mineral sulfida (pirit, markasit). Batu gamping bersifat keras, padat, dan dapat pula bersifat sarang. Carr Donald D. dan Rooney L.F (1985) membuat klasifikasi mineral atas dasar kandungan kalsit dan dolomit serta material non-karabonat dalam batuan. Jika kandungan kalsit dalam batuan dominan, maka dapat dikatakan sebagai batu gamping. Apabila kandungan dolomit (MgCO3) yang paling banyak (>15%) maka batuan tersebut diklasifikasikan sebagai batuan dolomit (Tabel 1). Batu gamping yang mengalami meta-morfosa akan berubah penampakan-nya dan sifatnya. Itu terjadi karena pengaruh tekanan

Home / Giới tính / Dấu hiệu đau bụng khi mang thai, đau bụng dưới khi mang thai có nguy hiểm Dấu hiệu đau bụng khi mang thai, đau bụng dưới khi mang thai có nguy hiểm  January 18, 2016  Giới tính, Phụ nữ mang thai, Sống khỏe  46 Views Nguyên nhân gây đau bụng khi mang thai, bụng dưới khi mang thai gây ra những nguy hiểm gì? Khi mang thai cơ thể sẽ có nhiều thay đổi bất ngờ khiến chị em không khỏi lo lắng. Một trong số đó là xảy ra hiện tượng đau vùng bụng dưới kèm theo các dấu hiệu khác. Tuy vậy, đau bụng là triệu chứng phổ biến của nhiều căn bệnh khác nhau từ nặng đến nhẹ, có thể liên quan hoặc không liên quan đến thai kỳ. Dưới đây, Mẹo vặt cuộc sống sẽ giúp bạn liệt kê và phân loại những nguyên nhân gây đau bụng khi mang thai nhé! Đa số các mẹ bầu khi cảm thấy lâm râm đau bụng trong tháng đầu của thai kỳ thường lo sợ đây là dấu hiệu nguy hiểm, cảnh báo nguy cơ sảy thai cao. Tuy nhiên, hiện tượng đau bụng ở tháng đầu của thai kỳ không đáng lo ngại, nhưng nếu các cơn đau bụng xuất hiện dai dẳng và bị đau dữ dội trong suốt thời kỳ mang thai thì bạn nên đến gặp bác sĩ ngay vì có thể gây nguy hiểm đến tính mạng của hai mẹ con. 1/ Những trường hợp đau bụng khi mang thai không gây nguy hiểm – Thai đang làm tổ: Theo các chuyên gia, vào tháng đầu tiên mẹ bầu thường thấy đau bụng râm ran do phôi đang làm tổ. Những tuần đầu, mẹ bầu sẽ cảm thấy căng tức vùng bụng dưới khi phôi tìm cách bám vào thành tử cung. Các cơn đau chỉ kéo dài khoảng 2-3 ngày đến khi phôi làm tổ xong, lúc đó cảm giác đau sẽ có xu hướng giảm dần. – Đầy bụng, khó tiêu: Khi mang thai, sự giãn nở của tử cung làm gia tăng áp lực cản trở hoạt động của dạ dày và các bộ phận khác gây nên chứng đầy bụng, khó tiêu. Ngoài ra, sự thay đổi nội tiết tố trong cơ thể khi mang thai cũng ảnh hưởng đến quá trình tiêu hóa. Do vậy, mẹ bầu rất dễ bị đầy bụng, khó tiêu. – Táo bón: Táo bón là dấu hiệu thường gặp của nhiều mẹ bầu trong suốt thời kỳ mang thai. Theo thống kê có khoảng 2/3 mẹ bầu gặp phải tình trạng này. Quá trình mang thai cơ thể mẹ bầu sẽ tiết ra loại hormone định hình giới tính thai, đồng thời hormone này sẽ thả lỏng các cơ và giúp thai nhi phát triển. Tuy nhiên, hormone này lại gây ức chế hệ tiêu hóa và tử cung đang giãn nở tạo áp lực lên dạ dày gây đau bụng âm ỉ. Món ngon: Cháo bí ngô converted by Web2PDFConvert.com

El estudio parte del concepto del proyecto y de las herramientas necesarias para su realización. Así nos muestra cómo las arquitecturas de Aalto no adquieren una mera similitud con los sistemas o las formas del paisaje, sino que el arquitecto elabora un largo repertorio de procesos proyectuales en los cuales incluye a la propia naturaleza.
Aalto introduce la naturaleza, con todos sus elementos y formas, como un argumento más puesto a disposición de la producción arquitectónica. Desde ese momento la naturaleza aparece insistentemente en todo lo que él produce, pero lo hace, cómo no, de una forma “natural”. Aparece como sistema constructivo, ligero y robusto al mismo tiempo, convertida en fibra que elabora técnicas de mobiliario, de objetos, de elementos decorativos o resistentes. Aparece en la configuración de formas y perfiles, a veces con intensas y nada veladas pinceladas pictóricas. Pero sobre todo aparece amplia y magnífica en lo que el autor convierte en espacios-tipo o patrones espaciales, creados por Aalto a partir de los sistemas naturales, de una gran intensidad poética pero sobre todo proyectual.

This paper explores Ernesto Nathan Rogers’ concept on the relationship between art and architecture. It starts from the analysis of the last issue of Domus under his direction in 1947, widely dedicated to this relationship, with writings by Aalto, the Italian painters Campigli and Guttuso and an in-depth analysis on Max Bill among some others interdisciplinary studies. The paper shows how Rogers accepts and supports the language of Concrete Art (arte concreta) as the only solution for this dilemma between architects and artists. Born in Europe, the Concretismo found a significant development in Argentina where Rogers stayed in 1948 after having published the last Domus and encouraged the Italian “Movimento Spazialista” led by Lucio Fontana, who had returned to Milan from Buenos Aires during the spring of 1947. The circularity of these events proves the legacy of this issue of Domus and emphasizes the difference with Gio Ponti’s subsequent direction of the magazine.

Although an oddity in Aino and Alvar Aalto's oeuvre, the Poetry Room holds a central position in the history of acoustic modernisms in architecture. Inside the room the two architects articulated their modernist critique of functionalism and technology, reclaiming listening spaces as the subject matter of design. In transforming each record player into a listening station in the middle of the room, their design turned the gramophone into a pillar for modern poetry. This interior marked a new sonic sensibility in architectural practices and discourses, indicative of the place that sound reproduction technologies, such as gramophones and record players, held in modern architecture as iconic objects of modernity and mass culture.

The ideology of Pancasila as a way of life, the basis of the state, and national identity has a various challenge from time to time so that the existence of Pancasila as an Ideology must be maintained, especially in industrial revolution 4.0. The research method used is a qualitative approach by doing study of literature. In data collection the writer used documentation while in techniques data analysis used content analysis, inductive and descriptive. Results of the research about challenges and strengthening of the Pancasila Ideology in facing the era of the industrial revolution 4.0 are: (1)  grounding Pancasila, (2) increasing professional human resources based on Pancasila’s values, (3) maintaining the existence of Pancasila as the State Ideology.

The office of Uytenbogaart and Rozendal were responsible for the much enjoyed Hout Bay Public Library just a stone’s throw from the sea. They prepared an urban design proposal for the town of Hout Bay of which the library formed a part. It consisted of a sequence of linked courts that integrated buildings and car parks and landscape. I will discuss what the major stylistic influences were in the design of this library and
also refer to the era in which it was conceived. Uytenbogaart is a prominent South African architect and the library is a legacy to his architecture discourse. He
introduced us to the multi-faceted and rich architecture of Alvar Aalto. He also enriched the architectural landscape of South Africa through his understanding and crusading work towards a civic architecture.

The article analyses the development of Alvar Aalto's lighting designs through the periods of early Modernism around 1927–1935, the following "transitional period", and the highly productive phase that began around 1948. During the early modernism, the technological principles (i.e. indirect lighting) had significant influence on Aalto's design. The transitional period has been less studied but, on the other hand, is important for the understanding of the the amount and formal richness of Aalto's later production. The article also discusses the relation between electric light and daylight in Aalto's buildings.The sections of the article are: Aalto's shift from Classicism to Modernism; The circular skylight – Aalto’s most significant fenestration motif; The transition to the 1950s and the emergence of new motifs; 1950s lamp production parallel to fenestration motifs; Integration of the lamps with the architecture.

Comparing to other forms of human creation, architecture is often slow and passive. It takes years, if not decades to complete a public building. From the initial competition entry by Asplund to the actual building, the Gothenburg Law Courts took 24 years to complete. During this time, the shift of aesthetic culture in Sweden from Neoclassicism to National Romanticism and finally to Functionalism has influenced the building’s architectural style. Besides stylistic influences, the paradigm of existing political and social structure in Sweden is undergoing tremendous change. With the Swedish Social Democratic Party (SAP) winning the general election and the majority of parliament in 1932, the country’s policy has become more liberal. A great number of bold economic stimulus schemes were launched to develop better infrastructure for the country. The Gothenburg Law Courts was finally conceived under this stimulus scheme led by the Swedish Social Democratic Party. This essay took interest in the most significant and controversial work of Gunnar Asplund, the Gothenburg Law Courts (1937). The following analysis will focus on different parties’ reactions and interpretation of a Gothenburg Law Courts in an attempt to understand the influence of the building socially and politically.

Departing from the intention to explore Frank Gehry’s drawings serving to their own designer to grasp ideas during the process of their genesis, the article examines Frank Gehry’s concern about the revelation of the first gestural drawings and all the sketches and working models concerning the evolution of his projects, and his intention to capture the successive transformation and progressive concretisation of architectural concepts. The article also compares Gehry’s design process with that of Enric Miralles, Alvar Aalto, Bernard Tschumi, and Le Corbusier. It sheds light on Miralles, Aalto, Le Corbusier and Gehry’s interest in a holistic understanding of all the parts of an architectural project, which is expressed through their tendency to draw the different sketches concerning the same project on the same sheet of paper. At the core of Gehry’s design approach is the osmosis of function and morphology. This aspect of his design vision could be compared to Alvar Aalto’s design process. At the core of the article are the distinction between communication drawings and conceptual drawings, and Gehry’s concern about achieving an osmosis between function and morphology. The article also investigates Gehry’s use of uninterrupted self-twisting line in his sketches, exploring his intention to enhance a straightforward relationship between the gesture and the decision-making regarding the form of the building.

Alvar Aalto's City Hall Complex and library in Saynatsalo, Finland. As part of my Scandinavian trip on Midsummer's night, I got to visit the complex with few people around and long days.
i had read about the complex in textbooks but seeing it in person gave better appreciation for its setting, materials and massing  .

Aalto encontró todo un repertorio de componentes espaciales en la naturaleza y, especialmente, en el bosque. Recorrido, topografía, verticalidad, luz, penumbra, sensaciones, vendrían a sintetizar las características del bosque. Tras su proceso de abstracción arquitectónica pasaran a constituir su particular geometría del bosque, que le proporcionaría numerosos  recursos para incorporar a su repertorio proyectual.

This article uses two seminal 20th-century houses—Frank Lloyd Wright’s Fallingwater and Alvar Aalto’s Villa Mairea—to examine the natural symbol of inside and outside, which for Karsten Harries (1988, 1993, 1997)  is one important lived relationship sustaining successful architecture and place.

Modernizm başlangıç amacı 'avangart olmak', hedefinden çıkıp dünya çapında yayılmasının da etkisiyle tekrara düşerek, mimari dilde tekdüzeliğe sebebiyet vermiştir. Dönemin bazı mimarları enternasyonal stili kopyalama yoluna giderken bazı mimarlar ise bu görüşe direnç gösterip yeniden yorumlamayı tercih etmişlerdir. Bu yorumlama genel olarak 'kimlik, süreklilik, kendiliğindenlik' kavramları üzerinden yapı üretimini tekrar ela almaktır. Yapılarını bu kavramlar üzerinden üretmeye çalışan mimarlardan biri de Alvar Aalto'dur. Aalto yapılarında bu kavramları yaşadığı coğrafyanın koşullarından yola çıkarak yeniden düşündürmektedir.

PUERTAS ADENTRO
Interioridad y espacio doméstico en el siglo XX
Aníbal Parodi

INTRODUCCIÓN

Puertas Adentro, dentro y fuera, interior y exterior, envolvente y espacio. Existen, sin duda, pocos diálogos que se vinculen de un modo tan determinante con la identidad más íntima del hecho arquitectónico. Parecería que todo el conflicto que supone la concepción del espacio se resume, precisamente, en la magia que integra y divide estos hemisferios complementarios en permanente interacción. La realidad del espacio arquitectónico es una, aunque ciertamente puede fragmentarse de infinitas maneras según la óptica que gobierne operativamente nuestra mirada.

Anclados en esta convicción, el trabajo que hoy presentamos asume el interior como una realidad espacial con vida propia (y aún así dependiente). “Estar adentro” es una categoría del habitar fuertemente determinada. La necesidad de abrigo y protección es, para el hombre, primaria y primigenia (para Wright será siempre una condición esencial de la vivienda). Pero, ¿cuáles son los atributos que afirman la interioridad de un espacio? Louis Kahn ha sabido desmenuzar pacientemente las relaciones que se establecen entre la intimidad de un espacio, el tipo de vínculos personales a que habilitaba y la conformación de su envolvente física. Interior, interioridad, intimidad son términos asociables espontáneamente cuando abordamos el ámbito espacial natural en el cual nuestra vida cotidiana tiene lugar : la vivienda. Por ello nuestro trabajo decide explorar el fenómeno de la interioridad desde la determinante investigación que supone el diseño del espacio doméstico. La mirada elegida no pretende eludir la integralidad del fenómeno arquitectónico, tan solo selecciona operativamente algunos marcos de restricción que le permiten una aproximación más didáctica a la comprensión de los interiores domésticos a lo largo de todo un siglo.

“Puertas adentro, interioridad y espacio doméstico en el siglo XX” puede aparecer como un título un tanto pretencioso. Sin embargo, busca definir con la mayor precisión posible un área específica de trabajo: el concepto de espacio interior, vinculado al tema de la vivienda a lo largo de un período fermental como es el siglo XX que dejamos atrás apenas ayer. Como ha podido verificarse una y otra vez, la vivienda unifamiliar (y si es la propia mejor) ha sido el laboratorio ideal desde el cual la mayor parte de los arquitectos han desarrollado el fundamento teórico que sirve de base al conjunto de su obra.

La investigación se aleja voluntariamente del espíritu abarcativo y registral de los textos de Historia de la Arquitectura. Decide concentrarse en un universo considerablemente reducido respecto a la más que interesante producción del siglo pasado. Tan solo diecisiete viñetas para presentar el fluir del pensamiento arquitectónico en el transcurso de todo un siglo. Esta selección de ejemplos presentada en orden cronológico -intenta desplegar un abanico lo más completo posible de las distintas actitudes de aproximación al diseño del espacio interior y su equipamiento. Para ello recurre tanto a ejemplos paradigmáticos de la historia oficial como a otros menos difundidos o incluso periféricos. Por más que el número de casos abordado es voluntariamente reducido y la óptica inevitablemente occidental, se ha intentado que el conjunto no solo cubra temporalmente la producción de un siglo, sino que además sea representativo de culturas desarrolladas en diferentes contextos. Pocos ejemplos abordados con toda la profundidad que el acceso a la información, desde estas latitudes, nos ha permitido, privilegiando aquellas viviendas que hemos tenido la fortuna de visitar en persona o a través de los generosos ojos de colegas y amigos.

El trabajo busca explícitamente trascender la información existente identificando en cada caso aquellos ambientes y piezas de mobiliario que mejor representan los diferentes procesos de diseños y proponiendo siempre un nuevo registro conceptual y gráfico. Cada capítulo gira en torno a un componente o atributo característico y diferencial que la vivienda a estudio propone. De este modo, una vez completada la travesía habremos reflexionado acerca del rol de la luz, el color, los materiales, la ornamentación, la geometría, la escala, el equipamiento como generador de lugar, la definición de la textura espacial, el movimiento en el espacio, la transición desde y hacia el exterior, el movimiento en el espacio, el control de la privacidad, la dimensión espacio-temporal del proyecto, etc. Se ha elegido iniciar la aproximación al objeto de estudio de cada capítulo a partir de su información gráfica. Luego de la breve presentación de la ficha informativa, nos sumergimos de inmediato en la sugerencia de la secuencia de imágenes. Se intenta así generar una primera y rápida impregnación visual que preceda al texto analítico y que permita retornar oportunamente desde el desarrollo teórico para su análisis en profundidad. Por último, cada capítulo se cierra con un índice de ilustraciones que incluye breves comentarios e informaciones complementarias.

The paper focuses on Aalto's principles about urban space and planning  in connection to the influence of William Wurster and Lewis Mumford.
Aalto made about 50 urban plans, many of which are not very known to scholars.  They vary between contextual projects within the city, residential projects, civic centers, campus planning, cemeteries, and regional plans. 
During his stay in USA and also in Finland, contacts between Aalto and Wurster are known, while contacts with Mumford must have been unavoidable.  Nevertheless, a reciprocal influence with Mumford is quite thinkable.
Aalto's urban designs and writings are focused in connection to this twofold connection.

Tulisan ini membahas seorang Arsitek, Perencana kota, dan Desainer dari Finlandia melalui artefak karyanya dan karirnya serta meneliti lebih jauh tentang pendapat dan pengertian tentang definisi desain menurut Sang Legendaris Alvar Aalto

Alvar Aalto adalah salah satu arsitek sekaligus desainer besar yang telah mempengaruhi dan menginspirasi banyak orang melalui karya-karyanya pada bidang arsitek dengan gaya modern-nya di belahan Eropa Utara, dan terkenal di seluruh dunia sebagai arsitek dengan paham fungsionalisme-nya. Pada makalah ini kita dapat meneliti lebih jauh untuk mengetahui proses-proses dalam hidup Aalto yang berpengaruh pada perubahan gaya desainnya. Melalui makalah  ini kita juga dapat lebih memahami karya-karyanya dengan mengetahui latar belakang kehidupan dan sejarah pribadi dari Alvar Aalto.

Pada awal karirnya, Aalto menggunakan motif dekoratif renaisans pada tahun 1923-1927. Kemudian Aalto juga disebut sebagai arsitek yang menganut gaya arsitektur fungsionalisme yang pertama di Finlandia pada karyanya "Turun Sanomat". Kemudian Aalto menjadi lebih terkenal dengan paham fungsionalisme-nya pada saat membuat "Paimio Sanatorium" di Turku pada tahun 1927-1933. Kurva organik merupakan sebuah alasan mengapa Aalto masih dicintai oleh banyak orang dan masih memiliki ketenaran hingga saat ini. Saat Aalto mulai menggunakan bentuk-bentuk kurva tersebut gaya desainnya mulai berubah menjadi modern dan gaya modernisme ini merupakan gaya modern hasil konstruksi pemikiran modern versinya sendiri.

Titik balik perubahan gaya desain menjadi humanis pada karyanya terjadi pada era Helsinki (1949-1955) saat Aalto mulai mengaplikasikan bahan-bahan alami secara terus menerus dan menjadikan manusia sebagai penekanan pada setiap karyanya. Pada era ini pula Aalto mulai menggabungkan paham fungsionalisme, modernisme, humanisme pada karya-karya besar lainnya hingga akhir hayatnya.