Architecture
Aalto's starting point for the design of the sanatorium was to make the building itself a contributor to the healing process. He liked to call the building a "medical instrument". For instance, particular attention was paid to the design of the patient bedrooms: these generally held two patients, each with his or her own cupboard and washbasin. Aalto designed special non-splash basins, so that the patient would not disturb the other while washing. The patients spent many hours lying down, and thus Aalto placed the lamps in the room out of the patients line of vision and painted the ceiling a relaxing dark green so as to avoid glare. Each patient had their own specially designed cupboard, fixed to the wall and off the floor so as to aid in cleaning beneath it.
In the early years the only known "cure" for tuberculosis was complete rest in an environment with clean air and sunshine. Thus on each floor of the building, at the end of the patient bedroom wing, were sunning balconies, where weak patients could be pulled out in their beds. Healthier patients could go and lie on the sun deck on the very top floor of the building. As the patients spent a long time—typically several years—in the sanatorium, there was a distinct community atmosphere among both staff and patients; something which Aalto had taken into account in his designs, with various communal facilities, a chapel, as well as staff housing, and even specially laid out promenade routes through the surrounding forest landscape. In the 1950s the disease could be partly dealt with by surgery and thus a surgery wing, also designed by Aalto, was added. Soon after, antibiotics saw the virtual end of the disease, and the number of patients was reduced dramatically and the building was converted into a general hospital.
Read more about this topic: Paimio Sanatorium
Famous quotes containing the word architecture:
“Defaced ruins of architecture and statuary, like the wrinkles of decrepitude of a once beautiful woman, only make one regret that one did not see them when they were enchanting.”
—Horace Walpole (1717–1797)
“The two elements the traveler first captures in the big city are extrahuman architecture and furious rhythm. Geometry and anguish. At first glance, the rhythm may be confused with gaiety, but when you look more closely at the mechanism of social life and the painful slavery of both men and machines, you see that it is nothing but a kind of typical, empty anguish that makes even crime and gangs forgivable means of escape.”
—Federico García Lorca (1898–1936)
“They can do without architecture who have no olives nor wines in the cellar.”
—Henry David Thoreau (1817–1862)