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19-487: Zonnestraal may refer to: Zonnestraal (estate) , a 1925 estate and former sanatorium in Hilversum, Netherlands Ray of Sunshine , a 1919 Dutch silent film directed by Theo Frenkel Topics referred to by the same term [REDACTED] This disambiguation page lists articles associated with the title Zonnestraal . If an internal link led you here, you may wish to change

38-406: A hospital; rather, the building has functioned as private rehabilitation center for children since 2014. The sanatorium has been nominated to become a UNESCO World Heritage Site . Aalto received the commission to design the building after winning an architectural competition for the project held in 1929. Though the building represents the 'modernist' period of Aalto's career, and followed many of

57-425: A loose "pin-wheel" design that created separation between patients' rooms, giving each of them the adequate amount of sunlight needed for therapy. The distribution of space in this manner created the ability for every patient to have a sunbathing balcony that was unobstructed by any other patient's room or building. The design of this architecture can be referred to as Heliotherapeutic Architecture ( Light therapy ) and

76-432: A surgery wing, also designed by Aalto's architect studio, 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 . Paimio Sanatorium is still owned by Turku University hospital, but is no longer used as a hospital. Since 2014, the main building and some staff houses have been part of The Foundation for

95-546: Is organic, sat in a rolling terrain amidst a dense forest. With the construction of sanatoriums worldwide, the public began to see the importance of increases hygiene in their homes. The principle established in Zonnestraal, however, was repeated throughout the world. Also, it did not take long for architects to start designing homes following the spacious sanatoriums. These buildings include Sir Arthur Bliss ' house built in Surrey or

114-646: The 2010 World Monuments Fund / Knoll Modernism Prize for their restoration of the Zonnestraal Sanatorium. Deitrich Neumann, from the Department of History of Art and Architecture, Brown University , Providence, one of the members of the jury, stated "this careful restoration does full justice to the subtleties of the original building, its particular handling of light, and the seeming weightlessness of its composition. In this project, practical conservation and thorough scholarship reinforced each other in finding

133-527: The avoidance of superfluous decoration. The building is mostly made of transparent materials to allow as much light as possible to enter the patients' rooms. With this transparency, the building runs a large risk of overheating. However, the architects understood these risks and incorporated a cooling system in the building; something that was not common at this point in time. The surfaces that are not transparent are very sterile and smooth in appearance making very hygienic surroundings. The buildings are arranged in

152-437: The best approach to the preservation of one of modern architecture's most important buildings." Zonnestraal was built as a tuberculosis sanatorium in the 1920s and 1930s. The building features the classic design of the sanatorium, which focuses on as much open space and fresh air as possible. However, it still embodies the definition of the modern architecture by the immense amount of repetition, bold geometric shapes and

171-451: The building's structural deterioration could not be solved by demolition and rebuilding. Instead new techniques of concrete repair had to be used. The presence of tuberculosis and the sanatorium played a large role in modern architecture. Though it was not the first building to feature a nearly all glass architecture, after the sanatorium period, the style of all glass buildings stayed a constant in modern architecture. It has been said that

190-457: 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

209-463: The design commission having won the architectural competition for the project held in 1929. The building was completed in 1933, and soon after received critical acclaim both in Finland and abroad. The building served exclusively as a tuberculosis sanatorium until the early 1960s, when it was converted into a general hospital. Today the building is owned by Turku University Hospital but is not functioning as

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228-464: The famous Lovell House designed by Richard Neutra. 52°12′02″N 5°09′14″E  /  52.20056°N 5.15389°E  / 52.20056; 5.15389 Paimio Sanatorium Paimio Sanatorium ( Finnish : Paimion parantola , Swedish : Pemars sanatorium ) is a former tuberculosis sanatorium in Paimio , Southwest Finland , designed by Finnish architect Alvar Aalto . Aalto received

247-405: The famous Paimio Sanatorium in Finland by Alvar Aalto was greatly influenced by Zonnestraal; it is known that Aalto had visited Zonnestraal in 1928 just prior to the design of Paimio, and its organization of space is based on the same heliotropic arrangement of white concrete volumes, with a central building and off-shooting wings, but Zonnestraal is completely symmetrical in layout, whilst Paimio

266-468: The link to point directly to the intended article. Retrieved from " https://en.wikipedia.org/w/index.php?title=Zonnestraal&oldid=933266352 " Category : Disambiguation pages Hidden categories: Short description is different from Wikidata All article disambiguation pages All disambiguation pages Zonnestraal (estate) Hubert-Jan Henket (Bierman Henket Architecten) and Wessel de Jonge Architecten were awarded

285-484: The same time as the Vyborg Library . Aalto and his wife Aino designed all of the sanatorium's furniture and interiors. Some of the furniture, most notably the Paimio chair , is still in production by Artek . 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

304-470: The tenets of Le Corbusier 's pioneering ideas for modernist architecture (e.g. ribbon windows, roof terraces, machine aesthetic ), it also carried the seeds of Aalto's later move towards a more synthetic approach. For instance, the main entrance is marked by a nebulous-shaped canopy unlike anything being designed at that time by the older generation of modernist architects. The building is widely regarded as one of his most important early designs — designed at

323-420: 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

342-417: Was actually a short lived style in its purpose for therapy because of the discovery of the cure for tuberculosis. However, this style focuses on the engineering required to satisfy the patient's needs. In fact, the architects preferred to refer to themselves as building engineers. After abandonment in the 1980s the building was submitted to UNESCO 's list of World Heritage Sites . However, with this submittal,

361-439: 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 silent basins, so that the patient would not disturb the other while washing. Aalto placed the lamps in the room out of the patients' line of vision and painted the ceiling a relaxing grayish green so as to avoid glare. Each patient had their own specially designed cupboard, fixed to

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