16. 2.
Monday
17. 2.
Tuesday
18. 2.
Wednesday
19. 2.
Thursday
20. 2.
Friday
21. 2.
Saturday
23. 2.
Monday
24. 2.
Tuesday
25. 2.
Wednesday
26. 2.
Thursday
27. 2.
Friday
28. 2.
Saturday
2. 3.
Monday
3. 3.
Tuesday
4. 3.
Wednesday
5. 3.
Thursday
6. 3.
Friday
7. 3.
Saturday
9. 3.
Monday
10. 3.
Tuesday
11. 3.
Wednesday
12. 3.
Thursday
13. 3.
Friday
14. 3.
Saturday
16. 3.
Monday
17. 3.
Tuesday
18. 3.
Wednesday
19. 3.
Thursday
20. 3.
Friday
21. 3.
Saturday
23. 3.
Monday
24. 3.
Tuesday
25. 3.
Wednesday
26. 3.
Thursday
27. 3.
Friday
28. 3.
Saturday
30. 3.
Monday
31. 3.
Tuesday
1. 4.
Wednesday
2. 4.
Thursday
3. 4.
Friday
4. 4.
Saturday
6. 4.
Monday
7. 4.
Tuesday
8. 4.
Wednesday
9. 4.
Thursday
10. 4.
Friday
11. 4.
Saturday
24. 4.
Friday
25. 4.
Saturday
27. 4.
Monday
28. 4.
Tuesday
29. 4.
Wednesday
30. 4.
Thursday
2. 5.
Saturday
4. 5.
Monday
5. 5.
Tuesday
6. 5.
Wednesday
7. 5.
Thursday
8. 5.
Friday
9. 5.
Saturday
11. 5.
Monday
12. 5.
Tuesday
13. 5.
Wednesday
14. 5.
Thursday
15. 5.
Friday
16. 5.
Saturday
18. 5.
Monday
19. 5.
Tuesday
20. 5.
Wednesday
21. 5.
Thursday
22. 5.
Friday
23. 5.
Saturday
25. 5.
Monday
26. 5.
Tuesday
27. 5.
Wednesday
28. 5.
Thursday
29. 5.
Friday
30. 5.
Saturday
ON LIGHT IN AALTO BUILDINGS
Interpretations about the use of daylight in Aalto’s buildings can be anachronistic in at least two ways. The first one is looking Aalto from the “state-of-the-art” understanding of lighting design, without historical perspective. The second one is suggesting historical influences in a too straightforward manner. In both cases, the development of the solutions should be understood better. My analysis begins from the rooflights of a single building and proceeds towards opposite directions: backwards to the years of early modernism, and forwards to the major works of the 1950s. My purpose is to demonstrate, how strong link there was between architectural forms, problems of illumination, spatial principles and
technological influences. During the decades, these questions created integrity within Aalto’s production. When interpreting Aalto’s window motifs, their strong internal lines of development should be taken into account.
Markku Norvasuo