This article considers Alvar Aalto’s (1898–1976) two church and parish centre projects in Wolfsburg in light of the architectural, political and sociocultural contexts that framed their design and construction in post-war Germany. Many of Aalto’s ideas, originally unsuccessful, became appreciated later. ![]() ![]() ![]() His experiments with new ideas, however, were best demonstrated in those projects that extended the problems of housing to specific contexts, such as a hospital room or an artist’s home. Aalto adopted it but also tried to develop personal solutions. One of the most important motifs of early modernism was the strip window. At first the principles of electric light were most important to Aalto, but gradually he became increasingly interested in daylight. Aalto’s ideas were drawn from various sources, including illuminating engineering. The goal of this essay is to demonstrate how architect Alvar Aalto, one of the leading Finnish ‘functionalists’, studied the problem of daylight and electric light in his housing designs between years 19. By the end of the 1920s, European architectural modernism had become interested in two important but basically independent issues: the problem of housing and the use of light.
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