do something different

Teachers’ Resource:
Key Stage 3 & 4
lv ar
a through the eyes of Art & Design/
alto
a geru Design & Technology
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Contents
Introduction to the exhibition and this resource p1
Architecture studies in schools p2
Alvar Aalto p3
Exhibition plan and information p4
Design ideas p5
Design process p6

Credit: Alvar Aalto, Savoy Vases, © Littala

Presentation p7
Interpretation p8
Students’ projects: design and technology p9
Students’ projects: art and design p 10
Keywords p 11

Barbican Resources: websites and publications

Resources: organisations
p 12
p 13

Education Barbican Art Gallery – planning your visit p 14


Barbican Education
Inspired by the extraordinary diversity of the Barbican arts
programme, Barbican Education offers pupils and teachers
powerful learning opportunities and the chance to discover
more about the arts and their own creativity. A
comprehensive education programme accompanies every
Art Gallery exhibition, including teachers’ resources, CPD
events, and gallery tours. For more information, to download
other resources or book events please visit
www.barbican.org.uk/education.
Introduction to the Exhibition
This first U.K. retrospective of the 20th century Finnish architect
Alvar Aalto (1898-1976) provides an unusual perspective on
his achievements and legacy, through the eyes of Shigeru
Ban, one of the most innovative Japanese architects today.
As designer of this exhibition, he shows how his work as an
architect continues Aalto’s legacy.
The exhibition features architectural models and drawings,
furniture, light fittings, textiles, glassware, photographs and
paintings and drawings by Aalto.
It is designed as a conversation between these two
architects who share the same architectural vision beyond
time and cultural difference.
The first part of the exhibition looks at the development of
Aalto’s architectural vision and style highlighting his 12 key
buildings.
The second part explores the themes and issues linking Alvar
Aalto and Shigeru Ban.
Teachers’ Resource
01
Introduction to this Resource
The exhibition provides an opportunity for young people to
study the work of a major European architect who has been
a significant influence on 20th century architecture, and to
use it as a source of inspiration for their own projects in
art/design and design technology. They will find much to
help them develop design awareness, critical skills and
design capability.
This resource contains:
• A short introduction to architecture studies and
curriculum links.
• A summary of Alvar Aalto’s work.
• Exhibition plan and a summary of contents of
the exhibition.
• Suggested ways of viewing the exhibition to explore
design ideas, the design process and methods of
presentation, interpretation and critique.
• Suggested ways for using the exhibition as inspiration for
art/design and design/technology projects in schools.
• Online resources, focusing on the work of architects active
at the same time as Aalto, or contemporary architects
whose work shares similar qualities.
main image: Alvar Aalto, Villa Mairea, Noormarkku, Finland
1938-39, Main staircase © Judith Turner, 2006
above left: Alvar Aalto, Paimio Chair, 1932 , Image courtesy of the Alvar
Aalto Museum
above right: Shigeru Ban, Paper Church, Nagata-ku, Kobe, Japan,
Entrance area, 1995–2005, Image courtesy: Shigeru Ban Architects
Photo credit: Hiroyuki Hirai © Hiroyuki Hirai
© Barbican Education 2007
 Teachers’ Resource
02

Architecture
studies
and built
environment Architecture studies and built environment education in
schools enables young people to experience the world, to
understand it, to think about it, to feel and value it.
Art/Design
Through art and design activities pupils learn to make
informed value judgements and aesthetic and practical

education Educational projects that create links between art, design

and the environment establish new relationships between
learners and their surroundings.

They oblige young people to question how we choose to

decisions, becoming actively involved in shaping
environments. They explore ideas and meanings in the work
of artists, craftspeople and designers. They learn about the
diverse roles and functions of art, craft and design in
contemporary life and in different times and cultures.

in schools
live and to shape our environment.

• They offer young people opportunities to explore,

investigate and discover, promoting intellectual curiosity.
• They nurture different ways of thinking and feeling.
• They provide opportunities for active learning and
problem solving.
• They develop skills of perception, communication
and invention.
• They encourage different social roles and relationships.
Design/Technology
Design and Technology makes a unique contribution to the
development of all young people by preparing them to
participate in tomorrow’s rapidly changing technologies.
They learn to think and intervene creatively to improve the
quality of life.
By developing, planning and communicating ideas they
enhance their intelligence and ways of thinking about human
culture. As they evaluate processes they become
discriminating and informed users of products.

• Most importantly, involving young people in environmental

design projects develops their capability to deal with the
process of change positively and creatively.

• Sometimes, young people are able to take action, to put

their ideas into effect.
The exhibition will be of particular interest KS3 and KS4
students as part of their programmes for Art/Design and
Design/Technology in the National Curriculum.
above left: Credit: Alvar Aalto, Finnish Pavilion New York World’s Fair,
Queens, New York, 1938–1939, Ground floor plan
above right: Alvar Aalto, Villa Mairea, Noormarkku, Finland 1938–1939
View of northeast corner with main entrance canopy
Image courtesy of the Alvar Aalto Museum, Jyväskylä © Gustaf Welin

© Barbican Education 2007


Alvar Aalto
Alvar Aalto is recognized today as one of the great masters
of modern architecture. During his long and prolific career,
Aalto’s work embraced almost all key public institutions –
town halls, theatres, churches, libraries and universities – as
well as standardised housing and private homes.
Aalto’s architecture… is marked by a warm humanity and
strong individuality. His buildings derive their special aesthetic
character from their dynamic relationship with their natural
surroundings, their human scale, superbly executed details,
unique treatment of materials and ingenious use of lighting.
Aalto first achieved fame in Continental Europe as a furniture
designer, and only later as an architect. His contribution to
furniture design was among his foremost achievements in its
own right, and it sowed the seed from which many of his
architectural ideas sprang forth.
Tuukkanen P. (editor) 2002, Alvar Aalto, Designer, Alvar Aalto
Foundation, Alvar Aalto Museum.
main image: Alvar Aalto in the 1970’s, Image courtesy of the Alvar Aalto
Alvar Aalto Museum © Eva and Pertti Ingervo
above left: Experimental House, Muuratsalo, Sauna, exterior detail –
wood, 1952–53 © Judith Turner
above right: Paimio Tuberculosis Sanatorium, Paimio, Finland, interior
lighting detail © Judith Turner
Teachers’ Resource
03
Aalto is universally acknowledged as a landmark figure in
the history of 20th century architecture, ranked with
Modernist masters such as Le Corbusier and Mies van der
Rohe. Aalto established his international fame as a designer
and architect first in London, and his work was particularly
influential in England during the 1950s.
For Aalto, architecture meant the creation of environments
that were conducive to overall human well-being and
provided ordinary people with comfort and happiness. His
architectural philosophy was to harmonise human life with
nature by balancing the building’s internal and external
requirements with its immediate environment. In Aalto’s
buildings, aesthetic values are an integral part of his overall
architectural scheme.
Aalto was an highly experimental architect who innovated
by combining traditional and natural materials with modern
technology to further his goal of improving the conditions of
human life. He was as concerned with the interiors of his
buildings as he was with their structure. He admired the
commitment to craftsmanship and sensitivity to natural
materials that he found in Japanese architecture. 60 years
later, this influence is evident in the work of Shigeru Ban,
whose work makes use of natural and recyclable materials
such as cardboard, bamboo and wood.
At the start of the 21st century, when we are facing global
issues such as urbanisation, housing problems and
environmental changes, Aalto’s work carries an important
message for the future of architecture and its role in society.
© Barbican Education 2007
Exhibition Plan Teachers’ Resource
04

Upper level/
The exhibition begins on the upper level
Room 1
Early Years and Nordic Classicism
Rooms 2 & 3
Functionalism
Rooms 4 & 5
Search for a New Style
Room 6
Red Period
Rooms 7 & 8
White Period and Aalto’s Late Phase

Exhibition Plan The themes explored include:

The first part of the exhibition, in the upper gallery, looks at • Materials
the development of Aalto’s architectural vision and style. • Structure
• Form
In the upper gallery, a contour model represents each key • Experimentation
building, and an analytical model accompanies a • Standardisation
commentary by Shigeru Ban. • Lighting
• Details and Texture
Contextual materials are displayed, including drawings, • Analysis and Synthesis
photographs, book and magazines. Where appropriate, • Nature and Landscape
furniture, lighting and other design works are incorporated in • Architects and Social Responsibility
the display.

This section of the exhibition identifies six phases in Aalto’s

career and presents 12 key building projects, focusing on his
styles and the context of his work.

Lower level/ The second part of the exhibition in the lower gallery
The exhibition continues on the explores themes and issues linking Aalto and Shigeru Ban,
lower level ranging from the questions of forms, materials and structure to
Room 9 ethics.
Forms
Room 10 The display is designed as a dialogue between Aalto and
Materials and Standardization Ban on the key principles and issues linking the two
Room 11 architects. This part of the exhibition analyses Aalto’s
Lighting and Structure approach to certain themes and shows Ban’s work as a
Zones A–B counterpoint by comparing their approaches and the
The Architect and Society/the solutions to the same problems. above left: Alvar Aalto, Savoy Vases, 1937 © Littala
AA–System Houses above right: Alvar Aalto, House of Culture, Helsinki Finland, 1952–1958
Zones C–D Exterior, red-brick wall - detail © Judith Turner, 2006
Aalto Furniture
Zone EShigeru Ban and Aalto’s Legacy

© Barbican Education 2007


Design Ideas
Design Ideas
The ultimate goal of architecture…is to create a paradise.
It is the only purpose of building a house… Every house,
every product of architecture…should be a fruit of our
endeavour to build an earthly paradise for people
(Alvar Aalto, 1957).
Beauty is the harmony of purpose and form.
(Alvar Aalto, 1928).
Architectural models of Aalto’s buildings
Have a look at Aalto’s original building models as well as
models constructed by others. What purposes do the
models serve?
Reconstructions of Aalto interiors
Look for varied use of materials (bricks, tiles and timber) and
design details such as door handles, handrails. How do they
contribute to design quality?
Aalto’s architectural drawings
Look at both original drawings by Aalto and reproductions.
How do designers use drawing?
Furniture, light fittings, textiles, glassware and
other design objects
Look for prototypes by Aalto and also standardised versions.
Which work well? Why?
Paintings and drawings by Aalto
How do Aalto’s drawings and paintings – his art – differ from
his design work?
Teachers’ Resource
05
Some questions for discussion following
the exhibition:
• What are the key ideas that underpin the work of
Alvar Aalto?
• Where did Alvar Aalto find inspiration?
• What influences are evident in Aalto’s work?
• In what ways did Aalto’s work create an integration of
nature and architecture?
• How does Aalto’s work relate to sustainability?
• In what ways did Aalto consider the needs of the people
who lived or worked in his buildings or used the objects
he designed?
• How has Aalto influenced current design?
• What relevance does Aalto have for the 21st century?
main image: Alvar Aalto, Gold necklace and bracelet, 1960s
Image courtesy of the Alvar Aalto Museum © Maija Holma
above left: Alvar Aalto, Church of the Three Crosses Vuoksenniska, Imatra,
Finland, 1955–58
above right: Alvar Aalto, Chair for Paimio Sanatorium
© Barbican Education 2007
 Teachers’ Resource
06

Design
Process
Design Process Find and make a collection of thumbnail sketches to record
examples of different kinds of drawings used for different
Look carefully at the exhibition to identify some methods that purposes. Can you find any of the types of drawing listed
Aalto used in the development and presentation of his ideas. below?

How did he use drawing and three-dimensional analytical drawing

constructions to research, analyse, develop, and test out annotated sketch
ideas to develop and refine his thinking? computer-assisted drawing
concept sketch
How are drawings and three-dimensional constructions used design
to help the architect think and to communicate his ideas? diagram
elevation
field sketch
illustration
map
observational drawing
overlay
panorama
perspective
plan
presentational drawing
section
sketch

Find and record different kinds of models made for different

main image: Alvar Aalto, Civic Center, Seinäjoki, Finland, 1958–1987 purposes.
Initial sketch of the City Halland Chruch, Image courtesy of the Alvar
Aalto Museum © Maija Holma How are models developed as part of the research and
above left: Alvar Aalto, A-System Houses, 1937–1945, Drawing of development process different from those used for
A-System housing, Image courtesy of the Alvar Aalto Museum presentation purposes?
above right: Alvar Aalto, Aalto’s vision of his hometown as the ‘Florence
of the North’. Proposal for a new church Square, Jyväskylä, 1926
Courtesy of the Alvar Aalto Museum, Drawing Archive, Jyväskylä, Finland

© Barbican Education 2007

 Teachers’ Resource
07

Presentation

Find examples of different ways of communicating design

ideas through drawing, photographs, 3D and words.

• What kinds of information and ideas are best expressed

through drawing?

• What kinds of information and ideas are best expressed in

three dimensions?

• What kinds of information and ideas are best expressed

through words?

main image: Paimio Tuberculosis Sanatorium, Paimio, Finland

1929–1933, Image courtesy of the Alvar Aalto Museum
© Martti Kapanen

Presentation
above left: Alvar Aalto, Säynätsalo Town Hall, Säynätsalo,
1948–1952, Section
above right: Shigeru Ban model, Villa Mairea, 2006.

© Barbican Education 2007

 Teachers’ Resource
08

Interpretation

Interpretation
One of the prominent architects who carries Aalto’s legacy
forward today is Shigeru Ban. In the aftermath of the Kobe
Earthquake, Shigeru Ban and a team of volunteers built
temporary housing and a church for quake victims using
paper. Paper had been one of the most traditional materials
in Japanese architecture, used as panelling for screens and
sliding doors, but not as a structural component. Since 1986,
when he had incorporated cardboard tubes into his design
for an Aalto exhibition in Tokyo, Ban had been developing
the idea of making paper, especially recycled cardboard
tubes, a sustainable structural material. Inexpensive, easily
replaceable, low-tech, producing virtually no waste and
aesthetically pleasing with their natural colour, Ban’s paper
houses proved to be a highly effective solution not only as
temporary shelters for disasters but also as a form of housing
for the future. The naturalism Aalto found in Japanese art
comes full circle in Ban’s work, and the two architects are
united in their quest for humanising architecture.
Installation
Look at Shigeru Ban’s installation, inspired by Aalto’s
forms/structural elements.
• What ideas does this suggest about the work of the
two architects?
• How does this work as a method of interpreting a
designer’s work?
Photography and Digital Imagery
Look at both photographs from the Aalto archives and
contemporary images, including the photographs in the
exhibition by American photographer Judith Turner.
• How is photography used to interpret the work of
Alvar Aalto?
• How well does this work as a method of interpreting
a designer’s work?

• What are key considerations in photographing buildings

and interiors?

main image: Alvar Aalto, Jyväskylä Workers´ Club, Jyväskylä, Finland

1924–1925, Interior, hand-rail © Judith Turner, 2006
above left: Shigeru Ban, Paper House, Lake Yamanaka, Yamanashi,
Japan, North façade, 1995, Image courtesy: Shigeru Ban Architects
© Hiroyuki Hirai
above right: Church of the Three Crosses, Vuoksenniska, Imatra
Interior, detail, 1955–58, Image courtesy of Judith Turner, 2006
Photo credit: Judith Turner © Judith Turner

© Barbican Education 2007

 Teachers’ Resource
09

Architecture

Students’

Credit: Alvar Aalto, Turun Sanomat Building, Turku,

Finland, 1928–1930, Image courtesy of the Alvar
Cabin
Design a cabin or small house (two rooms
plus toilet facilities) suitable for family holidays,
to be constructed of natural materials, and

Projects using sustainable energy sources, and which

fits in well with its surroundings.
Make a set of drawings – conceptual sketch,
plan, elevations, illustrations of interior and
design details – to show your ideas.

Aalto Museum
Design and
Technology
Interior design
Living Room

Living room furnished with Artek furniture, Image

Credit: Alvar Aalto, An Ahlström company type
houses, Pirkkola, Helsinki, Finland, 1937–1945,
Analyse and appraise your own living room
in terms of materials, energy, quality of light,
space and relationship with nature.

courtesy of the Alvar Aalto Museum

Develop an alternative design, focusing on:
• ways space is used and arranged;
• ways in which light is managed;

© Foto-Studio Saurén
• materials, colour and texture of wall and
floor surfaces, furniture and fittings;
• relationship between indoors and outdoors.

Product design
School

Thonet Mundus furniture design competition, 1929,

Drawing for chairs ‘Arbeit – Ruhe’, Aalto’s entry for
Make a SWOT analysis – strengths,
weaknesses, opportunities (for improvement)

Image courtesy of the Alvar Aalto Museum

and threats (or problems) of lighting, wall and
floor surfaces and coverings, furniture, door
handles and window fittings in your school.
Using the Internet and catalogues from
suppliers and shops such as IKEA, Conran,
Habitat and B&Q, find and/or design
alternatives to improve the quality of the

© Maija Holma
learning environment. Using computer aided
drawing techniques, show how these could
work better.

© Barbican Education 2007

 Teachers’ Resource
10

Painting and drawing

Students’

Credit: Alvar Aalto, A row of AA-System Houses

Built and natural forms

1937–1945, Image courtesy of the Alvar Aalto

Working from direct observation, make a
series of drawings to show the relationship
between built form and natural form.

Projects Develop a series of paintings exploring

relationships between buildings and nature.
Explore a variety of viewpoints, close to,
further away, looking up, down. Think about
scale, harmony, contrast, accent, colour and

Art & Design

texture. Think about change – different times
of day, different weather conditions, different

Museum
seasons.

Installation

Kobe, Japan, Interior ellipse formed by 58 paper

Architects, Photo credit: Hiroyuki Hirai © Hiroyuki

tubes, 1995–2005, Image courtesy: Shigeru Ban
Architect

Credit: Shigeru Ban, Paper Church, Nagata-ku,

Choose a contemporary architect.
Using the Internet and other relevant sources,
collect information about his / her work.
If possible, visit any buildings they have
designed.
What are key ideas that they work with?
Using found materials and images, create an
installation or three-dimensional artwork that
celebrates the work of this architect.

Hirai
Photography and digital imagery
Spatial Relationships
Make a series of images of a building to

Shigeru Ban, Japan Expo 2000, Main exhibition

explore the relationship between structures,
and volumes, spaces and people. Analyse

Image courtesy: Shigeru Ban Architects

your images to decide on the key aesthetic
(sensory) and design qualities you have
discovered.

Photo credit: Hiroyuki Hirai

Select a number of your images.
Using digital technology, modify them to

space, upper level

create a sequence, showing how the space

© Hiroyuki Hirai
changes as you move through it.

© Barbican Education 2007

 Teachers’ Resource
11

Keywords

words
In discussing Aalto’s work and this exhibition, students might
find the following keywords and concepts useful. Students
can research using the internet the meaning of any words
they are not familiar with.

acoustic industrial
aesthetic innovation
analysis Modern Movement
Classicism model
component modular
construction organic
contemporary recyclable
context sensory
contour model sensual
key
counterpoint standardisation
craftsmanship structure
critical sustainability
cultural symbolism
element synthesise
environment system
footprint tactile
function technology
integration temporary
inspiration texture
installation urbanisation
Utopia
vernacular
vision

© Barbican Education 2007

 Teachers’ Resource
12

Architects and designers Publications for architecture education

Resources: Alvar Aalto

www.greatbuildings.com/architects/Alvar_Aalto.html
www.moma.org/exhibitions/1998/aalto/index.html
CABE teaching resources:
www.cabe.org.uk/teachingresources.aspx

Architecture Centre Network resources:

Websites and Alvar Aalto Museum www.architecturecentre.net/resources.asp

www.alvaraalto.fi/museum/museum.htm and Jyvaskyla
www.jkl.fi/lan Open House publications
www.openhouse.org.uk/london/shopEleven.html
Marcel Breuer
Adams (2005) Space and Place

Publications
www.greatbuildings.com/architects/Marcel_Breuer.html
Le Corbusier
www.greatbuildings.com/architects/Le_Corbusier.html
Walter Gropius
www.greatbuildings.com/architects/Walter_Gropius.html
(The campaign for Drawing).
Adams (2006) Shaping Places (Kent Architecture Centre).
Adams E. (2006) Getting out there: Art and design local
safari guide, A Teacher’s guide to using the local built
environment. (CABE)

Frank Lloyd Wright (We recommend that teachers check the contents of any
www.delmars.com/wright/flwright.htm websites or other media referenced in this resource. The
Barbican Centre cannot be held responsible for the content
Mies van der Rohe of external media, including websites).
www.greatbuildings.com/architects/Ludwig_Mies_van_
der_Rohe.html

Furniture
Artek
www.artek.fi/

Korhonen Furniture Factory

www.hkt-korhonen.fi/eng/historia_2.shtml

Glass
Finland Karhula-Iittala
www.freeformsusa.com/glass/Iittala.htm

Sweden – Orrefors
www.orrefors.com/

Denmark – Holmegaard
www.unicahome.com/c2144/holmegaard.html

Norway – Hadeland
www.norway.com/mall/brand.asp?lang=44&com=32

© Barbican Education 2007


Architecture for All
Resources: A joint project between the Royal Institute of British Architects
(RIBA) and the Victoria and Albert Museum (V&A),
Architecture for All draws on the architectural collections and
the specialist expertise of the RIBA and the V&A.
www.architectureforall.com/
Organisations
Architecture Centre Network (ACN)
The Architecture Centre Network (ACN), working in close
partnership with CABE, seeks to secure greater knowledge,
access, participation and influence, at all levels, in the
creation of an excellent built environment for all.
www.architecturecentre.net
Building Centre
Events at the Building Centre, links to the bookshop and
information about products and suppliers
www.buildingcentre.co.uk/
Campaign for Drawing
The Campaign is an independent charity that is creating a
new regard for the value of drawing to help people see,
think, invent and take action. It has established The Big Draw
as a popular celebration that takes place throughout
October across the UK. www.drawingpower.org.uk
Teachers’ Resource
13
Commission for Architecture and the Built
Environment (CABE)
The Commission for Architecture and the Built Environment
(CABE) seeks to promote high standards in architecture and
urban design. A series of books published by CABE have
been targeted at art, design and geography teachers in
secondary schools. www.cabe.org.uk
Design Museum
The Design Museum is the UK’s leading museum of modern
and contemporary design, architecture and fashion, with a
mission of inspiring, informing and educating on design.
www.designmuseum.org.uk.
Open House
Open House projects are partnerships working with
architects, designers, property owners, artists and the building
industry, as well as schools, youth and community groups, to
deliver high quality educational projects from which
everyone benefits. www.openhouse.org.uk
RIBA
Royal Institute of British Architect (RIBA) bookshop
www.ribabookshops.com/
Other useful websites
Extensive architecture links from the Kent Institute of
Art & Design
www.students.kiad.ac.uk/kiadlibrary/l_pages.asp?pageid=
2&data=arch
© Barbican Education 2007
 Teachers’ Resource
14

Planning Barbican
Chiswell St
Liverpool St

n St
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Beec

Milto
Ropemaker St
barbican Silk S
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your visit

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Lake

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side

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r Lan

Moo
rsga
Moorgate

Moo
Alde

rgate
Fore

d St
St

Woo

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London Wall
St Paul’s Mansion House Bank

Barbican Art Gallery
Level 3 Barbican Centre
Silk St
London EC2Y 8DS
For all group bookings and general enquiries please call the
Groups Booking Line on 020 7382 7211, fax 020 7382
7270 or email groups@barbican.org.uk.
The telephone booking line is open 10am–5pm, Monday to
Friday.
Gallery opening times
11am–8pm except Tuesday and Thursday, 11am–6pm
Admission £8 / £6 concessions
£3 schools and full time student groups of 10 or more,
Mon–Fri only
Teachers / group leaders go free with groups of 10 or more
students
Dedicated group booking line 020 7382 7211
How to find us
Barbican Art Gallery is on Level 3 of the Centre. Enter via
the main entrance on Silk St and cross the Foyer to the lift
and stairs to reach Level 3.
Nearest tube stations:
Barbican, Moorgate, St Paul’s, Liverpool Street
Nearest train stations: Liverpool St, Farringdon, City
Thameslink, Barbican, Moorgate
Coach: there is a setting down and picking up point in Silk
St. Parking is limited to the metered bays in Silk St and Fore
St. For further information contact 020 7606 3030, asking for
Parking Services
Disabled visitors
Barbican Art Gallery is fully accessible for wheelchair users.
For full Access information please visit
http://www.barbican.org.uk/visitor–information/disability–
access. You can also call or email the Barbican Access
Manager on access@barbican.org.uk
020 7382 7389/7083.
Cloakrooms
There is a free cloakroom on Level 3, directly outside the Art
Gallery.
Toilets
There are toilets on Level 3 directly outside Barbican Art
Gallery, and in addition on Level –1 for when you are on
your way into and out of the Centre.
Cafes / Packed Lunches
Waterside Café, just off the foyer on Level G, offers full meals
as well as sandwiches, drinks and also children’s meals.
If you have brought packed lunches you can eat in the stalls floor
foyer (Level –1) the main foyer (Level G) or outside on the
Lakeside where there are plenty of picnic benches and tables.
Phones
You can find public telephones in the lift lobby just across the
road from the Level –1 exit and on Level 2.
Further information
There is medical assistance available on site at all times.
Full evacuation staff are available at all times.
Barbican Education has a full CRB child protection policy.
If you would like to see the full policy please contact
Barbican Education on 020 7382 2333.
Please also contact Barbican Education if you would like risk
assessment information.
Top tips for planning your visit Contact
Beforehand We would welcome feedback on the exhibition itself and
Book your visit via our dedicated groups booking line – this teachers’ resource.
020 7382 7211. Book at least 4 weeks in advance for a visit
on 24 April, 2 May or 10 May and you can also book a We would also love to see any resources you create
free tour. Subject to availability, please call the Groups yourself –and any work that your pupils do as a result.
booking line for times available. You and your students might like to compile a CD and send
Come to our Teachers’ Evening for art & design and it to us at the address below. It could contain:
design & technology teachers at KS3 and 4 on Wednesday
14 March 07 – see www.barbican.org.uk/education • Images of students’ work in progress.
for more details and to book. • Images of completed work.
• Short report on the ideas that underpinned their work.
Preliminary visit
Make a preliminary visit before bringing your group. This will Credits
enable you to make best use of your visit to achieve your Alvar Aalto: Through the Eyes of Shigeru Ban
teaching and learning objectives. You should also refer to Resource for Secondary Teachers
the gallery floor plan, which is included in this resource, to
help you plan your route. If you have any questions during Written by: Eileen Adams
your visit, please speak to a member of the Art Gallery staff Edited by: Anna Dent, Barbican Education
who will be happy to help.
Alvar Aalto: Through the Eyes of Shigeru Ban curated by
Planning your visit Tomoko Sato (Barbican Art Gallery), Shigeru Ban (Architect)
Use your preliminary visit to plan how your students will use and Juhani Pallasmaa (Chairman of the Alvar Aalto
their time. Create your own worksheets – we have included Academy).
some ideas in this resource, but are fully aware that one size
will never fit all. Barbican Education
Barbican Centre
At the exhibition Silk St
Visit the Gallery in groups of no more than 30 students. London EC2Y 8DS
Make sure they have materials for drawing and note taking. T: 020 7382 2333
A4 clipboards and paper or sketchbooks would be ideal. F: 020 7382 7037
E: education@barbican.org.uk

© Barbican Education 2007