Matthew Girling 1

Expanding the concept of the rational through a critical study of Alvar Aalto and light
AR546 - Option 2: Technology in the cultural context
3 2 1 4
Matthew Girling 2
Introduction
It is the work of Alvar Aalto (1898-1976) that I believe has expanded
the concept of the architects programme. By better understanding
Aaltos inventive peculiarities I hope to establish what the, programme
has to cover if it is to match adequately, not only the criteria of function
and environment, but also the other interlocking codes that together
spell out both the private and the subliminal reactions (Wilson, 1992,
p.90) of the inhabitant.
Colin St John Wilsons account of Aaltos architectural deliberation
in the publication Architectural Refections (1992) will serve as a
theoretical framework for my analysis of Aalto. The synthetic nature
of the architects programme encourages a qualitative discourse and I
hope to exploit the merits of this methodology whilst appreciating its
limitations. Using philosophical debates as a resource for exploring
Aaltos attitudes rather than a set of underlying principles from which
all else must fow, creating unnecessary obstacles to fexible and creative
inquiry... One can, then, understand such debates as conversations
stimulating methodological awareness among researchers, rather
than laying foundations for truth (Seale, 1999, p.26). The theoretical
dialogue will be supported with analytical and historical evidence
concerning three of Aaltos buildings, which through their use of light, I
believe could reveal Aaltos rationale.
Organic Functionalism
To begin I will consider the conventional credo of functionalism
Aalto was reacting to in the early 20th Century. Hugo Hrings (1882-
1958) publication of Wege Zur Form (approaches to form) in 1925,
introduced the fundamentals of the theory Organwerk, and frst
provided the counterpoint to functionalism. Aalto was to attend the
second Congrs International dArchitecture Moderne (CIAM) meeting
in 1929 but it was the frst in La Sarraz, June 1928, that enabled Hring
to explain that we want to examine things and allow them to discover
their own images. It goes against the grain with us to bestow a form on
them from the outside (Wilson, 1992, p.168) Le Corbusier on the other
hand proposed creating repeatable forms that would conform to the
ideas of fexibility and a generalised purpose (Wilson, 1992). The debate
was a collision in the understanding of functionalism advocated by the
English Free School of the mid 19th Century. In reference to Aristotle,
the virtue of a thing is related to its proper function (Wilson, 1992,
p.29). However the rationalist conception of function, focused around
models of mass-production and industrial technology, ultimately lead
to naivety as the buildings specifc purpose, cultural and symbolic
signifcance was not included in the ethos. It is the early 20th Century
organic functionalists who adopted this philosophy most humanely. The
remainder of this apologia will investigate Alvar Aaltos signifcance in
advancing this rationale.
Fig.5 Gut Garkau (1922-1926). A project exemplifying Hrings organic principles. It involved a cowshed
organised around a courtyard. Hring has responded to his discovery that cows gather around their food
in a circle (Blundell-Jones, 1999, p.60).
5
Matthew Girling 3
Framework
Before analysing Aaltos buildings I would like to present and
interpret Colin St John Wilsons analogy of the programme, as
the vehicle through which information and intentions... are to be
transmitted (Wilson, 1922, p.88). Wilson uses the image of a DNA
strand to analogise the nature of the programme. The image of a DNA
strand suggests an intertwined unity between two complex chains of
information, that together transfer the genetic characteristics in all life.
Strand one
The frst of these hypothetical strands embodies the conventional,
operational and environmental parameters of the programme, which
the conservative functionalist might attempt to solve independently.
Aalto was well aware of the dangers in this approach which he vividly
allegorised in an anecdote describing his experience as a teacher.
This involved his reaction to a student who had attempted to fnd the
overall solution not only through one secondary method but through
many (Wilson, 1992, p.88). After counting up all the subordinate
methods Aalto responded by saying, how would the building and the
sick children in it function if a wild lion jumped in through one of the
windows (Wilson, 1992, p.89)?
Aaltos derisive lion is emphasising the fact that architecture is not
simply an equation that can be balanced by isolating the functions.
The students mathematical methodology has failed to recognise
how architecture is experienced. Martin Heidegger (1889-1976),
in his lectures at Freiburg, describes the experience of viewing and
understanding a table in the following way, what is there in the room
there at home is the table... at which one sits in order to write, have a
meal, sew, play. Everyone sees this right away (1999, p.69). Heidegger
is not viewing the table as an isolated object with a particular size or
geometry, rather as an entity connected to human purpose and related
to its surroundings. Aalto is yearning for an empathetic element to
the students methodology as the reductively mechanistic approach
emanates no authentic purpose.
Heidegger continues to say that, The side is not the east side, and
this narrow side so many cm. shorter than the other, but rather the
one at which my wife sits in the evening when she wants to stay up and
read (1999, p.69). Aalto understood how we experience the world by
relating sensations with paradigmatic memories. As early as 1935 Aalto
was concerned with the end of the spectrum where the purely human
questions resides (Wilson, 1992, p.49). What arose was a consistent
theme of reconciliation, pointing towards the transcendental world
beyond and directing us towards the second strand of our DNA analogy.
Strand two
This strand is concerned with answering the ambiguous psychological
and cultural demands and those symbols for what Aalto called lifes
ungraspable diffcult unity (Wilson, 1992, p.89). This strand sorts
after the suitable spatial experience by responding to the inhabitants
behaviour according to the buildings purpose. The, diffcult unity, for
me is how particular psychological experiences and behaviours unique
to each of us can be understood as a universal identity. Following Carl
Jungs (1875-1961) theory of archetypical behaviour we can combine
the universal with individual experience. In Jungian psychology an
archetype is an inherited mode of functioning (Jung, 1953-78, XVIII,
para.1228) and is realised through what the psychologists of the late
19th century theorised as association. The combination of similarity
and contiguity allows for a certain mode of behaviour to be universally
witnessed across the population. For the architect it is the traditional
associations, the ancestral hall of conventional symbols and collective
beliefs, the local colour of every cultural region (Wilson, 1992, p.90)
that are manifested in numerous ways to create the desirable spatial
experience. The archaic heritage of humanity (Jung, 1953-78, V,
para.259) ultimately orientates the structure of the double helix and
guides the two strands to combine harmoniously.
Matthew Girling 4
Viipuri Library (1933)
The frst of Aaltos buildings I would like to apply the DNA analogy to
is the Viipuri Library. Aalto frst determines the purpose of the library
in its totality as to eliminate all disturbing elements, as reading a book
involves both culturally and physically a strange kind of concentration
(Hawkes, 2008, p.69). This purpose has been induced through the
human perspective and has acknowledged both strands of our analogy.
The physical demand can be answered by the frst, concerned with
operational and environmental performance; whilst the cultural
concentration corresponds to the psychological and cultural properties
of the second. The architecture, whose form is not predetermined
by natural law (Wilson, 1992, p.30) must now develop a number of
innovations in response to the purpose described above.
In the refective essay, The Trout and the Mountain Stream (1947)
Aalto gives us a peek into his methodology:
The large number of different demands and sub-problems form an
obstacle that is diffcult for the architectural concept to break through. In
such cases I work - sometimes totally on instincts (Wilson, 1992, p.1992).
We can deduce what the meaning of the architectural concept was for
Aalto through his conceptual sketch for the Viipuri (Fig.6) of some kind
of fantastic mountain landscapes with cliffs lit up by suns in different
positions (Wilson, 1992, p.34). This sketch had an indirect connection
with the architectural conception but they tied together the section and
the plan with each other and created a kind of unity of horizontal and
vertical structures (Wilson, 1992, p.34). However as Richard Western
pointed out the sunken reading/stack area clearly derives from the
original classical scheme, re-capturing the idea of a space opening out of
the sky (1995, p.64). Aalto never explicitly declared that he abstracted
the landscape into his buildings. Therefore I suggest that the sketch
rather than being a source of innovation was an outlet for Aalto to
better understand the amalgamated demands of the brief that had been
engraved onto his subconscious.
As Immanuel Kant (1724-1804) suggests in his theory of
transcendental synthesis we draw knowledge from two sources;
namely sensation through intuitions and understanding through
conceptualisation. Thoughts without content are empty; intuitions
without concepts are blind (1996, p.107). This illustrates the synthesis
between Kants two faculties; sensation and concepts. I would suggest
that Aalto is working in the same way. The programme is not seen as a
process rather a synthesis of ideas. The resulting architecture therefore
inherits the sensation of harmony.
6
Fig.6 Viipuri concept sketch of some kind of fantastic mountain landscapes with cliffs lit up by suns in
different positions (Wilson, 1992, p.34).
Matthew Girling 5
Subsequent architectural innovations are now responding to the
collective purpose of the building. To respond to the physical demand
of reading Aalto introduced an array of conical roof lights. Theoretically
the light arriving from these interventions reach the pages of a book
from every angle to avoid refection and eliminate the shadows that can
be cast by the reader (Hawkes, 2008) (Fig.7). Aalto allegedly actuated
the roof lights depth to the angle of 52 degrees at noon during summer
(Hawkes, 2008). Interestingly I have discovered that for during the
dates 26/05/1933 - 17/07/1933 direct light creeps in. In total 98 hours
of direct sunlight enters with the maximum level of uneven light for
2 hours 15 minutes on the 21/06/1933 (Fig.9). After speaking to the
staff of the library, and fnding that Aalto prevented photographs of the
dappled light being published, I would speculate that this was not the
intention. In many of his later projects, including the Seinjoki Library,
which will be mentioned later, Aalto allows direct light to enter in a
controlled way.

Nonetheless, the original benevolent concept of exclusively allowing
refected light to enter the space has encouraged an affliation to the
surroundings by reproducing the misty veil (Weston, 1995, p.67) of
the northern sky. In addition the complex stairs and changes of levels
repeatedly evoke that feeling of promontory and haven, prospect and
refuge, which is a basic experience of landscape. (Weston, 1995, p.64)
(Fig.8) From the quote opening this chapter on the Viipuri we can see
that the most suitable spatial experience for reading, seen by Aalto, is
isolation. The latent isolation archetype is actualised in the inhabitants
psyche through lower spaces of haven or refuge whose characteristics
encourage the feeling of isolation. The local colour of the region is
effectively facilitated through the architecture creating the similarity
and contiguity we have found to be so important when actualising an
archetype.
Having applied both strands of our analogy to the Viipuri, the same
will be done for Aaltos municipal Town Hall in Syntsalo, Finland.
7
8
Fig.7 Alvar Aaltos light investigation to determine the roofs depth.
Fig.8 Changes of levels between the reading space and central control desk
Matthew Girling 6
Location - Vyborg, Leningrad Oblast, Russia
Longitude: 60.706 N. Latitude: 28.744 E.
Building orientation: 36
0
Due North

Day: June 21
st
1933
Time: 11:00. Azimuth:153. Altitude:50 Time: 12:00. Azimuth:175. Altitude:52 Time: 13:00. Azimuth:198. Altitude:51
9
Fig.9 Computer model analysing the dappled light.
Matthew Girling 7
Syntsalo Town Hall (1947-1952)
The next building brings attention to architectural communication.
The manifestation of individual architectural elements combine to
create an intense sense of place (Weston, 1995, p.132). For Aalto and
the other organic functionalists, such as Hring and Hans Scharoun
(1893-1972), expressionism was the link to expand the language of
architecture.
In response to the frst strand of our analogy we witness how Aalto
has developed a hierarchy between the different spaces of the Town
Hall at Syntsalo. The council chamber, which is the most signifcant
space applicable to the buildings purpose, is elevated above the
administrative and commercial areas (Fig.10). The journey to the
council chamber is a progressive detachment from the light outside
world, into the dark transcendental operations of debate and language.
By sloping the roof of the library, which is located to the south of
the courtyard, by 10 degrees Aalto allows the suns rays to enter the
courtyard at almost all times of the summer day. Even during the winter
solstice sunlight enters the opposite administrative wing (Fig.11). The
fnale transition is achieved by allowing light to enter solely from high
windows or concealed lamps (Fig.12).
Location - Syntsalo, Finland
Longitude: 62.1375 N Latitude: 25.7817 E
Building orientation: 15
0
Due North

Day: December 21
st
1952
Time: 1200 Azimuth: 175. Altitude: 4.
Council
Administration
Commerce
I
n
f
e
r
i
o
r

-

S
u
p
e
r
i
o
r
10
11
Fig.10 Photograph showing the hierarchy of the town halls spaces. Fig.11 Computer model analysing how the light enters the administrative wing.
Fig.12 Photograph showing the high windows and concealed lamp on the descent to the chamber.
12
Matthew Girling 8
Once inside the chamber the second strand of our analogy is
used to provide the most suitable spatial experience. As the orator
transgressing the limits of experience... with the aid of an imagination...
to body them forth to sense with a completeness of which nature affords
no parallel (Kant, 1952, p.177), Aalto too is attempting to focus the
experience of the inhabitant on the imagination. He uses darkness
[to] strengthen the power of the spoken word (Hawkes, 2008, p.80)
(Fig.14). The enigmatic quality of the architecture is developed further
through a number of architectural artifces which re-creates a mystical
& mythological sense of community (Hawkes, 2008, p.80).
As Dean Hawkes suggests a crucial part of Aaltos genius was his
ability to transform necessity into poetry. (2008, p.79) A conventionally
utilitarian beam has been transformed into a more poetic and
empathetic element within the council chamber (Fig.13). The beam
not only answers the pragmatic desire to allow unrestricted ventilation
into the space; but translates the conceptualised forces of gravity into
a visual representation. The beams supportive nature is exaggerated
through its form to mimic the councils duty to support and hold society
together.
13
14
Fig.13 Photograph of the Upturned hand - Porphyrious (Hawkes, 2008, p.79) beams within the council
chamber.
Fig.14 Photograph of the sombre ambience within the council chamber.
Matthew Girling 9
Further undertones are found within the materiality. Aalto specifcally
asked for the brickwork to be laid slightly out of line (Fig.15). This is
to express the craftsmanship of bricklaying and avoid any mechanical
imagery.
Aalto is permitting the individual elements to have their own space
and representation, and therefore identity (Wilson, 1992, p.86).
In Ludwig Wittgensteins, Philosophical Investigations (1953) we
understand that the meaning of an expression consists of previous
knowledge of the expressions use. This knowledge consists of having
the ability to follow rules based around the associated tradition of
the words use; much different from the mathematical imposition of
standardised truths. These rules are therefore based on a collective
agreement within a community. However as Wittgenstein mentions, It
is what human beings say that is true and false; and they agree in the
language they use. That is not an agreement in opinions but in form of
life (1953, 241). The form of life here is the general consensus of shared
behaviours and traditions. In the town hall the long archaic history of
the beam allows many meanings to be implied through its constitution
and form. It is understanding that pretences can be associated with
symbols and traditions that allows the perceiver to understand when it
is an appropriate and truthful use of an expression.
Finally, the two strands will be applied to another library by Aalto,
allowing a comparison between the Viipuri designed thirty years earlier
to be made.
15
Fig.15 Photograph of the bricks laid slightly out of line to remove mechanical imagery.
Matthew Girling 10
Seinjoki Library (1960)
With the Viipuri we saw how Aalto introduced conical roof lights,
mediating the transition of light into the building (Weston, 1995,
p.128). This was to recall the atmospheric Nordic light. Here Aalto is
celebrating the fact that direct light is entering the building, evident
from the main photograph used to advertise the interior. The south
facade is ftted with a number of immovable louvres. Some light is
refected upwards due to the louvre system and combined with the
window to the north create an even daylight distribution within
the sunken reading space. According to Sanchezs ecotect/radiance
simulation a uniformity ratio of 0.52 is proven (Sanchez, 2011).
However the system most notably permits dappled light to enter
and settle on the ceiling; making it diffcult not to read this ceiling
as a highly abstracted sky (Weston, 1995, p.184) (Fig.16). This is a
humanistic abstraction as it is stressing the vagaries of life. It does
not envision an unobstructed southern sky nor a misty veil as in the
Viipuri but a typical northern sky of shifting clouds and broken sun. It
is important to mention that this speckled light does enter the reading
area for a short time in the autumn when the suns altitude is 37 degrees
negating the homogenised light experience (Fig.17). Resemblance
to nature appears to have become a more important factor, better
answering the frst strand of our analogy than the contemporary prosaic
attitude to environmental design.
Location - Seinjoki, Finland
Building orientation: 20
0
Due North
Day: August 21
st
1961
Time: 1200
Azimuth: 168
Altitude: 38
16
17
Fig.16 View of the dappled light entering and abstracting the sky onto the ceiling.
Fig.17 Computer model of sunken reading space showing the dappled light effecting the reading area.
Matthew Girling 11
When comparing the two sunken reading spaces there is a notable
difference in the shape and organisation. According to Edward T.
Halls theory of proxemics, published in his The Hidden Dimension
(1966), the unconscious mind of the inhabitant will be infuenced by
the cultural expectations of space. At Seinjoki a sociopetal space is
encouraged through the radial shape enabling group discussions to
take place when necessary (Fig.18). However if we step down further in
scale to the arrangement of the tables, we fnd that everybody maintains
their own intimate space due to the stepped confguration. It is one of
the most marked characteristics of Aaltos work that it so dangerously
engages with contradictory elements which it yet manages to control
(Wilson, 1992, p.90).
By the late 1950s the ideas behind the system theory of self-
regulation and the imposition of machines onto the world of society and
psychology was gaining ground. Within this feld it was the Swedish
and Dutch attitude of structuralism that believed instead of users being
presented with predetermined spatial patterns, they were now-at least
in theory-offered the means to alter their own micro-environment and
decide their own patterns of behaviour (Colquhoun, 2002, p.222).
In opposition it could be considered that Aalto is showing signs of
conceit as he is considering himself the sole determinate factor of the
users needs and preferences. Despite this apparent arrogance I would
consider the control necessary to sway the inhabitants psychological
experience. If we consider the need to change ones own personal
light levels when reading, autonomous artifcial lights are present at
every table, enabling the wider light quality to be controlled by Aaltos
rectitude of judgement (Fig.19).
Fig.18 Photograph of the radial plan and stepped desk organisation. Plus the individual light at each desk.
Fig.19 Photograph of the wider light quality.
18
19
Matthew Girling 12
Conclusion
In light of my interpretation and application of Sandy Wilsons analogy
we have discovered the idiosyncrasies possessed by Alvar Aalto. From
the frst strand of the DNA analogy we established Aaltos purposive
intentions through reconciliation. The second strand then displayed
how universal assumptions, traditions and practices can be manifested
peculiar to the architect to actualise the desirable psychological and
cultural spatial experience. Using the rules of determinism through
deduction and theoretical debate this apologia is not dominated by
the factual discourse of science (Wilson, 1992, p.58); allowing a free
investigation into Aaltos architectural language which rationally
analyses more the desires of the inhabitant.
The Viipuri shone light on Aaltos ability to become immersed in the
programme, prioritising the buildings purpose, to allow a synthesis
between the amalgamated demands of the brief and his own creativity
to occur. The meditated light from above expressed a relation to the
surroundings whilst simultaneously answering the physical demand of
reading. At Syntsalo architectural traditions are utilised to develop
a conversation between the building and inhabitant. Here Aalto has
played with the conventional understanding of architectural elements to
subtly express imagery and analogise the buildings purpose and place
in society. Finally we witness the high level of control Aalto commands
at the Seinjoki library. Aalto chose not to introduce user controlled
louvres, manual or mechanical. Instead allowing the natural movement
of the sun to be displayed inside and concurrently providing the suitable
conditions for reading.
Ultimately we have discovered how the programme is a fusion
between the operational, environmental and the psychological effect the
architect is responsible for, held together by the history of architecture.
Opposed to the rationalist attitude of rising above and considering the
objective nature of the world; Aalto has recognised the importance of
human perspective. No faculty appears to have priority, they are not
irreconcilable but combine through the investigation of the buildings
use to answer the architects interpretation of the buildings purpose.
Word Count: 3,290 (Excluding footnotes, Illustration sources, Reference
list and Bibliography)
Matthew Girling 13
Reference list
Blundell-Jones, P. (1999). Hugo Hring: The organic versus the geometric. Stuttgart:
Ed. Axel Menges.
Colquhoun, A. (2002). Modern architecture. Oxford: Oxford University Press.
Hall, E. T. (1966). The Hidden Dimension. Garden City, N.Y: Doubleday.
Hawkes, D. (2008). The environmental imagination: Technics and poetics of the
architectural environment. London: Routledge.
Heidegger, M. (1999). Ontology - The Hermeneutics of Facticity. Trans. J. V. Buren.
Bloomington, Ind.: Indiana University Press.
Jung, C. G., Read, H. and Hull, R. F. C. (1953-78). The collected works of C. G. Jung.
Vol. V. London: Routledge & Kegan Paul.
Jung, C. G., Read, H. and Hull, R. F. C. (1953-78). The collected works of C. G. Jung.
Vol. XVIII. London: Routledge & Kegan Paul.
Kant, I. (1952). The Critique of Judgement. Trans. J. C. Meredith. Oxford: Clarendon
Press.
Kant, I. (1996). The Critique of Pure Reason. Trans. W. S. Pluhar, P, Kitcher.
Indianapolis, Ind: Hackett Pub. Co.
Seale, C. (1999). The Quality of Qualitative Research. London: SAGE.
Weston, R. (1995). Alvar Aalto. London: Phaidon.
Wilson, C. S. J. (1992). Architectural refections: Studies in the philosophy and
practice of architecture. Oxford: Butterworth Architecture.
Wittgenstein, L. (1958). Philosophical Investigations. Trans. G. E. M. Anscombe. 2nd
edn. Oxford: Blackwell.
Conference papers
PLEA2012 - 28th Conference, Opportunities, Limits & Needs Towards an
environmentally responsible architecture. C. Ana, J. Sanchez, L. Benson. eds. (2012).
Light in Seinjoki Library, Rovaniemi Library and Mount Angel Library designed
by Alvar Aalto. November 7-9. Lima, Peru.
Illustration Source - All acquired on (15-01-14)
1. Photographer unknown (-) Alvar Aalto. [Photogrpah]. At: https://reallywellmade.
co.uk/shop/images/5016//Alvar%20Aalto.jpg
2. Photographer unknown (-) Main library, Viipuri public library. [Photograph] At:
Weston, R. (1995). Alvar Aalto. London: Phaidon
3. Rista, S. (-) Saynatsalo Town Hall, Saynatsalo, 1949-1952, view towards the
library. [Photogrpah] At: Weston, R. (1995). Alvar Aalto. London: Phaidon
4. Rista, S. (-) Interior of Seinajoki Library. [Photogrpah] At: Weston, R. (1995).
Alvar Aalto. London: Phaidon
5. [Drawing] At: http://www.urbipedia.org/index.php?title=Granja_Gut_Garka
6. Aalto, A. (1929) Sketch of Viipuri Library. [Drawing] At: Weston, R. (1995). Alvar
Aalto. London: Phaidon
7. Aalto, A. (-) Study for the lighting system in the main library of the Viipuri
Library. [Drawing] At: Weston, R. (1995). Alvar Aalto. London: Phaidon
8. Photographer unknown (-) Main library, Viipuri public library. [Photograph] At:
Weston, R. (1995). Alvar Aalto. London: Phaidon
9. Girling, M. (2013) Viipuri computer model. [Render]
10. Divizia, C. (-) Saynatsalo Town Hall. [Photograph]. At: http://www.
greatbuildings.com/gbc/images/cid_1165869736_4_19.jpg
11. Girling, M. (2013) Saynatsalo computer model. [Render]
12. Rista, S. (-) View of staircase to council chamber. [Photogrpah] At: Weston, R.
(1995).
13. Rista, S. (-) Council chamber roof. [Photogrpah] At: Weston, R. (1995).
14. Rista, S. (-) View of the council chamber. [Photogrpah] At: Weston, R. (1995).
15. Rista, S. (-) Saynatsalo Town Hall, Saynatsalo, 1949-1952, view towards the
library. [Photogrpah] At: Weston, R. (1995). Alvar Aalto. London: Phaidon
16. Salva. G (2000). Seinajoki Library. [Photograph] At http://www.fickr.com/
photos/salvacasablancas/4243691007/
17. Girling, M. (2013) Seinajoki computer model. [Render]
18. Dasulele (2007) Seinajoki - Alvar Aalto - library [Photograph] At: http://
picasaweb.google.com/lh/photo/dLqOjRKvlR1xDo2hcKFkvQ
19. Woolftt, A. (-) Seinajoki Library by Aalto, Finland [Photograph] At:http://www.
corbisimages.com/stock-photo/rights-managed/AW013414/seinajoki-library-by-
aalto-fnland442c-866f-9dbfce1e6c49
Matthew Girling 14
Bibliography
Pallasmaa, J. (2012). The eyes of the skin: Architecture and the senses. Third edition.
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Architectural Press.
Colquhoun, A. (2002). Modern architecture. Oxford: Oxford University Press.
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Hall, E. T. (1966). The Hidden Dimension. Garden City, N.Y: Doubleday.
Hawkes, D. (2008). The environmental imagination: Technics and poetics of the
architectural environment. London: Routledge.
Heidegger, M. (1962). Being and time. Trans. J. Macquarrie, E. Robinson. Oxford:
Blackwell.
Heidegger, M. (1999). Ontology - The Hermeneutics of Facticity. Trans. J. V. Buren.
Bloomington, Ind.: Indiana University Press.
Jung, C. G., Read, H. and Hull, R. F. C. (1953-78). The collected works of C. G. Jung.
Vol. V. London: Routledge & Kegan Paul.
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Vol. XVIII. London: Routledge & Kegan Paul.
Kant, I. (1952). The Critique of Judgement. Trans. J. C. Meredith. Oxford: Clarendon
Press.
Kant, I. (1996). The Critique of Pure Reason. Trans. W. S. Pluhar, P, Kitcher.
Indianapolis, Ind: Hackett Pub. Co.
Seale, C. (1999). The Quality of Qualitative Research. London: SAGE.
Weston, R. (1995). Alvar Aalto. London: Phaidon.
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edn. Oxford: Blackwell.
Conference papers
PLEA2012 - 28th Conference, Opportunities, Limits & Needs Towards an
environmentally responsible architecture. C. Ana, J. Sanchez, L. Benson. eds. (2012).
Light in Seinjoki Library, Rovaniemi Library and Mount Angel Library designed
by Alvar Aalto. November 7-9. Lima, Peru.