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Archery

Archery is the sport, practice, or skill of using a bow to shoot arrows. The word comes from the Latin arcus, meaning bow. Historically, archery has been used for hunting and combat. In modern times, it is mainly a competitive sport and recreational activity. A person who practices archery is typically called an archer, bowman, or toxophilite.

Origins and ancient archery
The oldest known evidence of the bow and arrow comes from South African sites such as Sibudu Cave, where the remains of bone and stone arrowheads have been found dating approximately 72,000 to 60,000 years ago. Based on indirect evidence, the bow also seems to have appeared or reappeared later in Eurasia, near the transition from the Upper Paleolithic to the Mesolithic. The earliest definite remains of bow and arrow from Europe are possible fragments from Germany found at Mannheim-Vogelstang dated 17,500 to 18,000 years ago, and at Stellmoor dated 11,000 years ago. Azilian points found in Grotte du Bichon, Switzerland, alongside the remains of both a bear and a hunter, with flint fragments found in the bear's third vertebra, suggest the use of arrows at 13,500 years ago. Other signs of its use in Europe come from the in the  north of Hamburg, Germany and dates from the late Paleolithic, about 10,000–9000 BC. The arrows were made of pine and consisted of a main shaft and a 15 – fore shaft with a flint point. There are no definite earlier bows; previous pointed shafts are known, but may have been launched by spear-throwers rather than bows. The oldest bows known so far comes from the Holmegård swamp in Denmark. At the site of Nataruk in Turkana County, Kenya, obsidian bladelets found embedded in a skull and within the thoracic cavity of another skeleton, suggest the use of stone-tipped arrows as weapons about 10,000 years ago. Bows eventually replaced the spear-thrower as the predominant means for launching shafted projectiles, on every continent except Australasia, though spear-throwers persisted alongside the bow in parts of the Americas, notably Mexico and among the Inuit.

Bows and arrows have been present in Egyptian and neighbouring Nubian culture since its respective predynastic and Pre-Kerma origins. In the Levant, artifacts that could be arrow-shaft straighteners are known from the Natufian culture, (c. 10,800–8,300 BC) onwards. The Khiamian and PPN A shouldered Khiam-points may well be arrowheads.

Classical civilizations, notably the Assyrians, Greeks, Armenians, Persians, Parthians, Romans, Indians, Koreans, Chinese, and Japanese fielded large numbers of archers in their armies. Akkadians were the first to use composite bows in war according to the victory stele of Naram-Sin of Akkad. Egyptians referred to Nubia as "Ta-Seti," or "The Land of the Bow," since the Nubians were known to be expert archers, and by the 16th Century BC Egyptians were using the composite bow in warfare. The Bronze Age Aegean Cultures were able to deploy a number of state-owned specialized bow makers for warfare and hunting purposes already from the 15th century BC. The Welsh longbow proved its worth for the first time in Continental warfare at the Battle of Crécy. In the Americas archery was widespread at European contact.

Archery was highly developed in Asia. The Sanskrit term for archery, dhanurvidya, came to refer to martial arts in general. In East Asia, Goguryeo, one of the Three Kingdoms of Korea was well known for its regiments of exceptionally skilled archers.

Medieval archery
The medieval shortbow was technically identical with the classical era bows, having a range of approximately 91 m. It was the primary ranged weapon of the battlefield through the early medieval period. Around the tenth century the crossbow was introduced in Europe. Crossbows generally had a longer range, greater accuracy and more penetration than the shortbow, but suffered from a much slower rate of fire. Crossbows were used in the early Crusades, with models having a range of 274 m and being able to penetrate armour or kill a horse.

During the late medieval period the English army famously relied on massed archers armed with the longbow. The French army relied more on the crossbow. Like their predecessors archers were more likely to be peasants or yeomen than men-at-arms. The longbow had a range of up to 270 m. However its lack of accuracy at long ranges made it a mass weapon rather than an individual one. Significant victories attributable to the longbow, such as the Battle of Crecy and Battle of Agincourt resulted in the English longbow becoming part of military lore.

Mounted archery

Tribesmen of Central Asia (after the domestication of the horse) and American Plains Indians (after gaining access to horses by Europeans) became extremely adept at archery on horseback. Lightly armoured, but highly mobile archers were excellently suited to warfare in the Central Asian steppes, and they formed a large part of armies that repeatedly conquered large areas of Eurasia. Shorter bows are more suited to use on horseback, and the composite bow enabled mounted archers to use powerful weapons. Seljuk Turks used mounted archers against the European First Crusade, especially at the Battle of Dorylaeum (1097). Their tactic was to shoot at the enemy infantry, and use their superior mobility to prevent the enemy from closing with them. Empires throughout the Eurasian landmass often strongly associated their respective "barbarian" counterparts with the usage of the bow and arrow, to the point where powerful states like the Han dynasty referred to their neighbours, the Xiong-nu, as "Those Who Draw the Bow". For example, Xiong-nu mounted bowmen made them more than a match for the Han military, and their threat was at least partially responsible for Chinese expansion into the Ordos region, to create a stronger, more powerful buffer zone against them. It is possible that "barbarian" peoples were responsible for introducing archery or certain types of bows to their "civilized" counterparts – the Xiong-nu and the Han being one example. Similarly, short bows seem to have been introduced to Japan by northeast Asian groups.

Decline of archery
The development of firearms rendered the bow and arrow obsolete in warfare, although efforts were sometimes made to preserve archery practice. In England and Wales, for example, the government tried to enforce practice with the longbow until the end of the 16th century. This was because it was recognized that the bow had been instrumental to military success during the Hundred Years' War. Despite the high social status, ongoing utility, and widespread pleasure of archery in Armenia, China, Egypt, England and Wales, the Americas, India, Japan, Korea, Turkey and elsewhere, almost every culture that gained access to even early firearms used them widely, to the neglect of archery. Early firearms were inferior in rate-of-fire, and were very sensitive to wet weather. However, they had longer effective range and were tactically superior in the common situation of soldiers shooting at each other from behind obstructions. They also required significantly less training to use properly, in particular penetrating steel armor without any need to develop special musculature. Armies equipped with guns could thus provide superior firepower, and highly trained archers became obsolete on the battlefield. However, the bow and arrow is still an effective weapon, and archers have seen military action in the 21st century. Traditional archery remains in use for sport, and for hunting in many areas.

18th century revival as a sport
Early recreational archery societies included the Finsbury Archers and the Ancient Society of Kilwinning Archers. The latter's annual Papingo event was first recorded in 1483. (In this event, archers shoot vertically from the base of an abbey tower to dislodge a wood pigeon placed approximately 30 m above.) The Royal Company of Archers was formed in 1676 and is one of the oldest sporting bodies in the world. Archery remained a small and scattered pastime, however, until the late 18th century when it experienced a fashionable revival among the aristocracy. Sir Ashton Lever, an antiquarian and collector, formed the Toxophilite Society in London in 1781, with the patronage of George, the Prince of Wales. Archery societies were set up across the country, each with its own strict entry criteria and outlandish costumes. Recreational archery soon became extravagant social and ceremonial events for the nobility, complete with flags, music and 21-gun salutes for the competitors. The clubs were "the drawing rooms of the great country houses placed outside" and thus came to play an important role in the social networks of the local upper class. As well as its emphasis on display and status, the sport was notable for its popularity with females. Young women could not only compete in the contests but retain and show off their sexuality while doing so. Thus, archery came to act as a forum for introductions, flirtation and romance. It was often consciously styled in the manner of a Medieval tournament with titles and laurel wreaths being presented as a reward to the victor. General meetings were held from 1789, in which local lodges convened together to standardise the rules and ceremonies. Archery was also co-opted as a distinctively British tradition, dating back to the lore of Robin Hood and it served as a patriotic form of entertainment at a time of political tension in Europe. The societies were also elitist, and the new middle class bourgeoisie were excluded from the clubs due to their lack of social status.

After the Napoleonic Wars, the sport became increasingly popular among all classes, and it was framed as a nostalgic reimagining of the preindustrial rural Britain. Particularly influential was Sir Walter Scott's 1819 novel, Ivanhoe that depicted the heroic character Lockseley winning an archery tournament.

A modern sport
The 1840s saw the second attempts at turning the recreation into a modern sport. The first Grand National Archery Society meeting was held in York in 1844 and over the next decade the extravagant and festive practices of the past were gradually whittled away and the rules were standardized as the 'York Round' - a series of shoots at 55 m, 73 m, and 91 m. Horace A. Ford helped to improve archery standards and pioneered new archery techniques. He won the Grand National 11 times in a row and published a highly influential guide to the sport in 1856.

Towards the end of the 19th century, the sport experienced declining participation as alternative sports such as croquet and tennis became more popular among the middle class. By 1889, just 50 archery clubs were left in Britain, but it was still included as a sport at the 1900 Paris Olympics.

The National Archery Association of the United States was organized in 1879, in part by Maurice Thompson (the author of the seminal text “The Witchery of Archery”) and his brother Will Thompson. Maurice was president in its inaugural year and Will was president in 1882, 1903, and 1904. The 1910 President was Frank E Canfield. Today it is known as USA Archery and is recognized by United States Olympic & Paralympic Committee.

In the United States, primitive archery was revived in the early 20th century. The last of the Yahi Indian tribe, a native known as Ishi, came out of hiding in California in 1911. His doctor, Saxton Pope, learned many of Ishi's traditional archery skills, and popularized them.

From the 1920s, professional engineers took an interest in archery, previously the exclusive field of traditional craft experts. They led the commercial development of new forms of bow including the modern recurve and compound bow. These modern forms are now dominant in modern Western archery; traditional bows are in a minority. Archery returned to the Olympics in 1972. In the 1980s, the skills of traditional archery were revived by American enthusiasts, and combined with the new scientific understanding. Much of this expertise is available in the Traditional Bowyer's Bibles (see Further reading). Modern game archery owes much of its success to Fred Bear, an American bow hunter and bow manufacturer.

In 2021, five people were killed and three injured by an archer in Norway in the Kongsberg attack.

Mythology

Deities and heroes in several mythologies are described as archers, including the Greek Artemis and Apollo, the Roman Diana and Cupid, the Germanic Agilaz, continuing in legends like those of Wilhelm Tell, Palnetoke, or Robin Hood. Armenian Hayk and Babylonian Marduk, Indian Karna (also known as Radheya/son of Radha), Abhimanyu, Eklavya, Arjuna, Bhishma, Drona, Rama, and Shiva were known for their shooting skills. The famous archery competition of hitting the eye of a rotating fish while watching its reflection in the water bowl was one of the many archery skills depicted in the Mahabharata. Persian Arash was a famous archer. Earlier Greek representations of Heracles normally depict him as an archer. Archery, and the bow, play an important part in the epic poem the Odyssey, when Odysseus returns home in disguise and then bests the suitors in an archery competition after hinting at his identity by stringing and drawing his great bow that only he can draw, a similar motif is present in the Turkic Iranian heroic archeheroic poem Alpamysh.

The Nymphai Hyperboreioi (Νύμφαι Ὑπερβόρειοι) were worshipped on the Greek island of Delos as attendants of Artemis, presiding over aspects of archery; Hekaerge (Ἑκαέργη), represented distancing, Loxo (Λοξώ), trajectory, and Oupis (Οὖπις), aim.

Yi the archer and his apprentice Feng Meng appear in several early Chinese myths, and the historical character of Zhou Tong features in many fictional forms. Jumong, the first Taewang of the Goguryeo kingdom of the Three Kingdoms of Korea, is claimed by legend to have been a near-godlike archer. Archery features in the story of Oguz Khagan. Similarly, archery and the bow feature heavily into historical Korean identity.

In West African Yoruba belief, Osoosi is one of several deities of the hunt who are identified with bow and arrow iconography and other insignia associated with archery.

Types of bows

While there is great variety in the construction details of bows (both historical and modern), all bows consist of a string attached to elastic limbs that store mechanical energy imparted by the user drawing the string. Bows may be broadly split into two categories: those drawn by pulling the string directly and those that use a mechanism to pull the string.

Directly drawn bows may be further divided based upon differences in the method of limb construction, notable examples being self bows, laminated bows and composite bows. Bows can also be classified by the bow shape of the limbs when unstrung; in contrast to traditional European straight bows, a recurve bow and some types of longbow have tips that curve away from the archer when the bow is unstrung. The cross-section of the limb also varies; the classic longbow is a tall bow with narrow limbs that are D-shaped in cross section, and the flatbow has flat wide limbs that are approximately rectangular in cross-section. Cable-backed bows use cords as the back of the bow; the draw weight of the bow can be adjusted by changing the tension of the cable. They were widespread among Inuit who lacked easy access to good bow wood. One variety of cable-backed bow is the Penobscot bow or Wabenaki bow, invented by Frank Loring (Chief Big Thunder) about 1900. It consists of a small bow attached by cables on the back of a larger main bow.

In different cultures, the arrows are released from either the left or right side of the bow, and this affects the hand grip and position of the bow. In Arab archery, Turkish archery, and Japanese archery. The arrows are released from the right hand side of the bow, and this affects construction of the bow. In western archery, the arrow is usually released from the left hand side of the bow for a right-handed archer.

Compound bows are designed to reduce the force required to hold the string at full draw, hence allowing the archer more time to aim with less muscular stress. Most compound designs use cams or elliptical wheels on the ends of the limbs to achieve this. A typical let-off is anywhere from 65% to 80%. For example, a 27 kg bow with 80% let-off only requires 53 N to hold at full draw. Up to 99% let-off is possible. The compound bow was invented by Holless Wilbur Allen in the 1960s (a US patent was filed in 1966 and granted in 1969) and it has become the most widely used type of bow for all forms of archery in North America.

Mechanically drawn bows typically have a stock or other mounting, such as the crossbow. Crossbows typically have shorter draw lengths compared to compound bows. Because of this, heavier draw weights are required to achieve the same energy transfer to the arrow. These mechanically drawn bows also have devices to hold the tension when the bow is fully drawn. They are not limited by the strength of a single archer and larger varieties have been used as siege engines.

Types of arrows and fletchings
The most common form of arrow consists of a shaft, with an arrowhead at the front end, and fletchings and a nock at the other end. Arrows across time and history have normally been carried in a container known as a quiver, which can take many different forms. Shafts of arrows are typically composed of solid wood, bamboo, fiberglass, aluminium alloy, carbon fiber, or composite materials. Wooden arrows are prone to warping. Fiberglass arrows are brittle, but can be produced to uniform specifications easily. Aluminium shafts were a very popular high-performance choice in the latter half of the 20th century, due to their straightness, lighter weight, and subsequently higher speed and flatter trajectories. Carbon fiber arrows became popular in the 1990s because they are very light, flying even faster and flatter than aluminium arrows. Today, the most popular arrows at tournaments and Olympic events are made of composite materials.

The arrowhead is the primary functional component of the arrow. Some arrows may simply use a sharpened tip of the solid shaft, but separate arrowheads are far more common, usually made from metal, stone, or other hard materials. The most commonly used forms are target points, field points, and broadheads, although there are also other types, such as bodkin, judo, and blunt heads.

Fletching is traditionally made from bird feathers, but solid plastic vanes and thin sheet-like spin vanes are used. They are attached near the nock (rear) end of the arrow with thin double sided tape, glue, or, traditionally, sinew. The most common configuration in all cultures is three fletches, though as many as six have been used. Two makes the arrow unstable in flight. When the arrow is three-fletched, the fletches are equally spaced around the shaft, with one placed such that it is perpendicular to the bow when nocked on the string, though variations are seen with modern equipment, especially when using the modern spin vanes. This fletch is called the "index fletch" or "cock feather" (also known as "the odd vane out" or "the nocking vane"), and the others are sometimes called the "hen feathers". Commonly, the cock feather is of a different color. However, if archers are using fletching made of feather or similar material, they may use same color vanes, as different dyes can give varying stiffness to vanes, resulting in less precision. When an arrow is four-fletched, two opposing fletches are often cock feathers, and occasionally the fletches are not evenly spaced.

The fletching may be either parabolic cut (short feathers in a smooth parabolic curve) or shield cut (generally shaped like half of a narrow shield), and is often attached at an angle, known as helical fletching, to introduce a stabilizing spin to the arrow while in flight. Whether helical or straight fletched, when natural fletching (bird feathers) is used it is critical that all feathers come from the same side of the bird. Oversized fletchings can be used to accentuate drag and thus limit the range of the arrow significantly; these arrows are called flu-flus. Misplacement of fletchings can change the arrow's flight path dramatically.

Bowstring
Dacron and other modern materials offer high strength for their weight and are used on most modern bows. Linen and other traditional materials are still used on traditional bows. Several modern methods of making a bowstring exist, such as the 'endless loop' and 'Flemish twist'. Almost any fiber can be made into a bowstring. The author of Arab Archery suggests the hide of a young, emaciated camel. Njál's saga describes the refusal of a wife, Hallgerður, to cut her hair to make an emergency bowstring for her husband, Gunnar Hámundarson, who is then killed.

Protective equipment

Most modern archers wear a bracer (also known as an arm-guard) to protect the inside of the bow arm from being hit by the string and prevent clothing from catching the bowstring. The bracer does not brace the arm; the word comes from the armoury term "brassard", meaning an armoured sleeve or badge. The Navajo people have developed highly ornamented bracers as non-functional items of adornment. Some archers (nearly all female archers) wear protection on their chests, called chestguards or plastrons. The myth of the Amazons was that they had one breast removed to solve this problem. Roger Ascham mentions one archer, presumably with an unusual shooting style, who wore a leather guard for his face.

The drawing digits are normally protected by a leather tab, glove, or thumb ring. A simple tab of leather is commonly used, as is a skeleton glove. Medieval Europeans probably used a complete leather glove.

Eurasiatic archers who used the thumb or Mongolian draw protected their thumbs, usually with leather according to the author of Arab Archery, but also with special rings of various hard materials. Many surviving Turkish and Chinese examples are works of considerable art. Some are so highly ornamented that the users could not have used them to loose an arrow. Possibly these were items of personal adornment, and hence value, remaining extant whilst leather had virtually no intrinsic value and would also deteriorate with time. In traditional Japanese archery a special glove is used that has a ridge to assist in drawing the string.

Release aids
A release aid is a mechanical device designed to give a crisp and precise loose of arrows from a compound bow. In the most commonly used, the string is released by a finger-operated trigger mechanism, held in the archer's hand or attached to their wrist. In another type, known as a back-tension release, the string is automatically released when drawn to a pre-determined tension.

Stabilizers
Stabilizers are mounted at various points on the bow. Common with competitive archery equipment are special brackets that allow multiple stabilizers to be mounted at various angles to fine tune the bow's balance.

Stabilizers aid in aiming by improving the balance of the bow. Sights, quivers, rests, and design of the riser (the central, non-bending part of the bow) make one side of the bow heavier. One purpose of stabilizers are to offset these forces. A reflex riser design will cause the top limb to lean towards the shooter. In this case a heavier front stabilizer is desired to offset this action. A deflex riser design has the opposite effect and a lighter front stabilizer may be used.

Stabilizers can reduce noise and vibration. These energies are absorbed by viscoelastic polymers, gels, powders, and other materials used to build stabilizers.

Stabilizers improve the forgiveness and accuracy by increasing the moment of inertia of the bow to resist movement during the shooting process. Lightweight carbon stabilizers with weighted ends are desirable because they improve the moment of inertia while minimizing the weight added.

Shooting technique and form

The standard convention on teaching archery is to hold the bow depending upon eye dominance. (One exception is in modern kyūdō where all archers are trained to hold the bow in the left hand.) Therefore, if one is right-eye dominant, they would hold the bow in the left hand and draw the string with the right hand. However, not everyone agrees with this line of thought. A smoother, and more fluid release of the string will produce the most consistently repeatable shots, and therefore may provide greater accuracy of the arrow flight. Some believe that the hand with the greatest dexterity should therefore be the hand that draws and releases the string. Either eye can be used for aiming, and the less dominant eye can be trained over time to become more effective for use. To assist with this, an eye patch can be temporarily worn over the dominant eye.

The hand that holds the bow is referred to as the bow hand and its arm the bow arm. The opposite hand is called the drawing hand or string hand. Terms such as bow shoulder or string elbow follow the same convention.

If shooting according to eye dominance, right-eye-dominant archers shooting conventionally hold the bow with their left hand. If shooting according to hand dexterity, the archer draws the string with the hand that possesses the greatest dexterity, regardless of eye dominance.

Modern form
To shoot an arrow, an archer first assumes the correct stance. The body should be at or nearly perpendicular to the target and the shooting line, with the feet placed shoulder-width apart. As an archer progresses from beginner to a more advanced level other stances such as the "open stance" or the "closed stance" may be used, although many choose to stick with a "neutral stance". Each archer has a particular preference, but mostly this term indicates that the leg furthest from the shooting line is a half to a whole foot-length from the other foot, on the ground.

To load, the bow is pointed toward the ground, tipped slightly clockwise of vertical (for a right handed shooter) and the shaft of the arrow is placed on the arrow rest or shelf. The back of the arrow is attached to the bowstring with the nock (a small locking groove located at the proximal end of the arrow). This step is called "nocking the arrow". Typical arrows with three vanes should be oriented such that a single vane, the "cock feather", is pointing away from the bow, to improve the clearance of the arrow as it passes the arrow rest.

A compound bow is fitted with a special type of arrow rest, known as a launcher, and the arrow is usually loaded with the cock feather/vane pointed either up, or down, depending upon the type of launcher being used.

The bowstring and arrow are held with three fingers, or with a mechanical arrow release. Most commonly, for finger shooters, the index finger is placed above the arrow and the next two fingers below, although several other techniques have their adherents around the world, involving three fingers below the arrow, or an arrow pinching technique. Instinctive shooting is a technique eschewing sights and is often preferred by traditional archers (shooters of longbows and recurves). In either the split finger or three finger under case, the string is usually placed in the first or second joint, or else on the pads of the fingers. When using a mechanical release aid, the release is hooked onto the D-loop.

Another type of string hold, used on traditional bows, is the type favoured by the Mongol warriors, known as the "thumb release", style. This involves using the thumb to draw the string, with the fingers curling around the thumb to add some support. To release the string, the fingers are opened out and the thumb relaxes to allow the string to slide off the thumb. When using this type of release, the arrow should rest on the same side of the bow as the drawing hand i.e. Left hand draw = arrow on left side of bow.

The archer then raises the bow and draws the string, with varying alignments for vertical versus slightly canted bow positions. This is often one fluid motion for shooters of recurves and longbows, which tend to vary from archer to archer. Compound shooters often experience a slight jerk during the drawback, at around the last 4 cm, where the draw weight is at its maximum—before relaxing into a comfortable stable full draw position. The archer draws the string hand towards the face, where it should rest lightly at a fixed anchor point. This point is consistent from shot to shot, and is usually at the corner of the mouth, on the chin, to the cheek, or to the ear, depending on preferred shooting style. The archer holds the bow arm outwards, toward the target. The elbow of this arm should be rotated so that the inner elbow is perpendicular to the ground, though archers with hyper extendable elbows tend to angle the inner elbow toward the ground, as exemplified by the Korean archer Jang Yong-Ho. This keeps the forearm out of the way of the bowstring.

In modern form, the archer stands erect, forming a "T". The archer's lower trapezius muscles are used to pull the arrow to the anchor point. Some modern recurve bows are equipped with a mechanical device, called a clicker, which produces a clicking sound when the archer reaches the correct draw length. , traditional English Longbow shooters step "into the bow", exerting force with both the bow arm and the string hand arm simultaneously, especially when using bows having draw weights from 45 kg to over 80 kg. Heavily stacked traditional bows (recurves, long bows, and the like) are released immediately upon reaching full draw at maximum weight, whereas compound bows reach their maximum weight around the last 4 cm, dropping holding weight significantly at full draw. Compound bows are often held at full draw for a short time to achieve maximum accuracy.

The arrow is typically released by relaxing the fingers of the drawing hand (see bow draw), or triggering the mechanical release aid. Usually the release aims to keep the drawing arm rigid, the bow hand relaxed, and the arrow is moved back using the back muscles, as opposed to using just arm motions. An archer should also pay attention to the recoil or follow through of his or her body, as it may indicate problems with form (technique) that affect accuracy.

Aiming methods

There are two main forms of aiming in archery: using a mechanical or fixed sight, or barebow.

Mechanical sights can be affixed to the bow to aid in aiming. They can be as simple as a pin, or may use optics with magnification. Modern compound bows usually also have a peep sight (rear sight) built into the string, which aids in a consistent anchor point, but this is not allowed for other bow types under World Archery. Modern compound bows automatically limit the draw length to give a consistent arrow velocity, while traditional bows allow great variation in draw length. Some bows use mechanical methods to make the draw length consistent. Barebow archers often use a sight picture, which includes the target, the bow, the hand, the arrow shaft and the arrow tip, as seen at the same time by the archer. With a fixed "anchor point" (where the string is brought to, or close to, the face), and a fully extended bow arm, successive shots taken with the sight picture in the same position fall on the same point. This lets the archer adjust aim with successive shots to achieve accuracy.

Modern archery equipment usually includes sights. Instinctive aiming is used by many archers who use traditional bows. The two most common forms of a non-mechanical release are split-finger and three-under. Split-finger aiming requires the archer to place the index finger above the nocked arrow, while the middle and ring fingers are both placed below. Three-under aiming places the index, middle, and ring fingers under the nocked arrow. This technique allows the archer to better look down the arrow since the back of the arrow is closer to the dominant eye, and is commonly called "gun barreling" (referring to common aiming techniques used with firearms).

When using short bows or shooting from horseback, it is difficult to use the sight picture. The archer may look at the target, but without including the weapon in the field of accurate view. Aiming then involves hand-eye coordination—which includes proprioception and motor-muscle memory, similar to that used when throwing a ball. With sufficient practice, such archers can normally achieve good practical accuracy for hunting or for war. Aiming without a sight picture may allow more rapid shooting, not however increasing accuracy.

Instinctive shooting
Instinctive shooting is a style of shooting that includes the barebow aiming method that relies heavily upon the subconscious mind, proprioception, and motor/muscle memory to make aiming adjustments; the term used to refer to a general category of archers who did not use a mechanical or fixed sight. In other words, it is shooting "by feel."

Gap shooting
Gap shooting is an aiming method used by instinctive shooters. It involves consciously focusing on the tip of the arrow while maintaining awareness of the target. The archer must adjust the arrow's trajectory by gauging the distance between the arrow tip and the target, ensuring accurate shots.

Physics

When a projectile is thrown by hand, the speed of the projectile is determined by the kinetic energy imparted by the thrower's muscles performing work. However, the energy must be imparted over a limited distance (determined by arm length) and therefore (because the projectile is accelerating) over a limited time, so the limiting factor is not work but rather power, which determines how much energy can be added in the limited time available. Power generated by muscles, however, is limited by force–velocity relationship, and even at the optimal contraction speed for power production, total work by the muscle is less than half of what it would be if the muscle contracted over the same distance at slow speeds, resulting in less than 1/4 the projectile launch velocity possible without the limitations of the force–velocity relationship.

When a bow is used, the muscles are able to perform work much more slowly, resulting in greater force and greater work done. This work is stored in the bow as elastic potential energy, and when the bowstring is released, this stored energy is imparted to the arrow much more quickly than can be delivered by the muscles, resulting in much higher velocity and, hence, greater distance. This same process is employed by frogs, which use elastic tendons to increase jumping distance. In archery, some energy dissipates through elastic hysteresis, reducing the overall amount released when the bow is shot. Of the remaining energy, some is dampened both by the limbs of the bow and the bowstring. Depending on the arrow's elasticity, some of the energy is also absorbed by compressing the arrow, primarily because the release of the bowstring is rarely in line with the arrow shaft, causing it to flex out to one side. This is because the bowstring accelerates faster than the archer's fingers can open, and consequently some sideways motion is imparted to the string, and hence arrow nock, as the power and speed of the bow pulls the string off the opening fingers.

Even with a release aid mechanism some of this effect is usually experienced, since the string always accelerates faster than the retaining part of the mechanism. This makes the arrow oscillate in flight—its center flexing to one side and then the other repeatedly, gradually reducing as the arrow's flight proceeds. This is clearly visible in high-speed photography of arrows at discharge. A direct effect of these energy transfers can clearly be seen when dry firing. Dry firing refers to releasing the bowstring without a nocked arrow. Because there is no arrow to receive the stored potential energy, almost all the energy stays in the bow. Some have suggested that dry firing may cause physical damage to the bow, such as cracks and fractures—and because most bows are not specifically made to handle the high amounts of energy dry firing produces, should never be done.

Modern arrows are made to a specified 'spine', or stiffness rating, to maintain matched flexing and hence accuracy of aim. This flexing can be a desirable feature, since, when the spine of the shaft is matched to the acceleration of the bow(string), the arrow bends or flexes around the bow and any arrow-rest, and consequently the arrow, and fletchings, have an un-impeded flight. This feature is known as the archer's paradox. It maintains accuracy, for if part of the arrow struck a glancing blow on discharge, some inconsistency would be present, and the excellent accuracy of modern equipment would not be achieved.

The accurate flight of an arrow depends on its fletchings. The arrow's manufacturer (a "fletcher") can arrange fletching to cause the arrow to rotate along its axis. This improves accuracy by evening pressure buildups that would otherwise cause the arrow to "plane" on the air in a random direction after shooting. Even with a carefully made arrow, the slightest imperfection or air movement causes some unbalanced turbulence in air flow. Consequently, rotation creates an equalization of such turbulence, which, overall, maintains the intended direction of flight i.e. accuracy. This rotation is not to be confused with the rapid gyroscopic rotation of a rifle bullet. Fletching that is not arranged to induce rotation still improves accuracy by causing a restoring drag any time the arrow tilts from its intended direction of travel.

The innovative aspect of the invention of the bow and arrow was the amount of power delivered to an extremely small area by the arrow. The huge ratio of length vs. cross sectional area, coupled with velocity, made the arrow more powerful than any other hand held weapon until firearms were invented. Arrows can spread or concentrate force, depending on the application. Practice arrows, for instance, have a blunt tip that spreads the force over a wider area to reduce the risk of injury or limit penetration. Arrows designed to pierce armor in the Middle Ages used a very narrow and sharp tip ("bodkinhead") to concentrate the force. Arrows used for hunting used a narrow tip ("broadhead") that widens further, to facilitate both penetration and a large wound.

Hunting

Using archery to take game animals is known as "bow hunting". Bow hunting differs markedly from hunting with firearms, as distance between hunter and prey must be much shorter to ensure a humane kill. The skills and practices of bow hunting therefore emphasize very close approach to the prey, whether by still hunting, stalking, or waiting in a blind or tree stand. In many countries, including much of the United States, bow hunting for large and small game is legal. Bow hunters generally enjoy longer seasons than are allowed with other forms of hunting such as black powder, shotgun, or rifle. Usually, compound bows are used for large game hunting due to the relatively short time it takes to master them as opposed to the longbow or recurve bow. These compound bows may feature fiber optic sights, stabilizers, and other accessories designed to increase accuracy at longer distances. Using a bow and arrow to take fish is known as "bow fishing".

Modern competitive archery
Competitive archery involves shooting arrows at a target for accuracy from a set distance or distances. This is the most popular form of competitive archery worldwide and is called target archery. A form particularly popular in Europe and America is field archery, shot at targets generally set at various distances in a wooded setting. Competitive archery in the United States is governed by USA Archery and National Field Archery Association (NFAA), which also certifies instructors.

Para-archery is an adaptation of archery for athletes with a disability, governed by the World Archery Federation (WA), and is one of the sports in the Summer Paralympic Games. There are also several other lesser-known and historical forms of archery, as well as archery novelty games and flight archery, where the aim is to shoot the greatest distance.

license: Creative Commons - Attribution Share-Alike - https://creativecommons.org/licenses/by-sa/4.0/

title: Archery


text:
Alvar Aalto

Hugo Alvar Henrik Aalto (3 February 1898 – 11 May 1976) was a Finnish architect and designer. His work includes architecture, furniture, textiles and glassware, as well as sculptures and paintings. He never regarded himself as an artist, seeing painting and sculpture as "branches of the tree whose trunk is architecture." Aalto's early career ran in parallel with the rapid economic growth and industrialization of Finland during the first half of the 20th century. Many of his clients were industrialists, among them the Ahlström-Gullichsen family, who became his patrons. The span of his career, from the 1920s to the 1970s, is reflected in the styles of his work, ranging from Nordic Classicism of the early work, to a rational International Style Modernism during the 1930s to a more organic modernist style from the 1940s onwards.

His architectural work, throughout his entire career, is characterized by a concern for design as Gesamtkunstwerk—a total work of art in which he, together with his first wife Aino Aalto, would design not only the building but the interior surfaces, furniture, lamps, and glassware as well. His furniture designs are considered Scandinavian Modern, an aesthetic reflected in their elegant simplification and concern for materials, especially wood, but also in Aalto's technical innovations, which led him to receiving patents for various manufacturing processes, such as those used to produce bent wood. As a designer he is celebrated as a forerunner of midcentury modernism in design; his invention of bent plywood furniture had a profound impact on the aesthetics of Charles and Ray Eames and George Nelson. The Alvar Aalto Museum, designed by Aalto himself, is located in what is regarded as his home city, Jyväskylä.

The entry for him on the Museum of Modern Art website notes his "remarkable synthesis of romantic and pragmatic ideas," adding

"His work reflects a deep desire to humanize architecture through an unorthodox handling of form and materials that was both rational and intuitive. Influenced by the so-called International Style modernism (or functionalism, as it was called in Finland) and his acquaintance with leading modernists in Europe, including Swedish architect Erik Gunnar Asplund and many of the artists and architects associated with the Bauhaus, Aalto created designs that had a profound impact on the trajectory of modernism before and after World War II."

Life

Hugo Alvar Henrik Aalto was born in Kuortane, Finland. His father, Johan Henrik Aalto, was a Finnish-speaking land-surveyor and his mother, Selma Matilda "Selly" (née Hackstedt) was a Swedish-speaking postmistress. When Aalto was 5 years old, the family moved to Alajärvi, and from there to Jyväskylä in Central Finland.

He studied at the Jyväskylä Lyceum school, where he completed his basic education in 1916, and took drawing lessons from local artist Jonas Heiska. In 1916, he then enrolled to study architecture at the Helsinki University of Technology. His studies were interrupted by the Finnish Civil War, in which he fought. He fought on the side of the White Army and fought at the Battle of Länkipohja and the Battle of Tampere.

He built his first piece of architecture while a student; a house for his parents at Alajärvi. Later, he continued his education, graduating in 1921. In the summer of 1922 he began military service, finishing at Hamina reserve officer training school, and was promoted to reserve second lieutenant in June 1923.

In 1920, while a student, Aalto made his first trip abroad, travelling via Stockholm to Gothenburg, where he briefly found work with architect Arvid Bjerke. In 1922, he accomplished his first independent piece at the Industrial Exposition in Tampere. In 1923, he returned to Jyväskylä, where he opened an architectural office under the name 'Alvar Aalto, Architect and Monumental Artist'. At that time he wrote articles for the Jyväskylä newspaper Sisä-Suomi under the pseudonym Remus. During this time, he designed a number of small single-family houses in Jyväskylä, and the office's workload steadily increased.

On 6 October 1924, Aalto married architect Aino Marsio. Their honeymoon in Italy was Aalto's first trip there, though Aino had previously made a study trip there. The latter trip together sealed an intellectual bond with the culture of the Mediterranean region that remained important to Aalto for life.

On their return they continued with several local projects, notably the Jyväskylä Worker's Club, which incorporated a number of motifs which they had studied during their trip, most notably the decorations of the Festival hall modelled on the Rucellai Sepulchre in Florence by Leon Battista Alberti. After winning the architecture competition for the Southwest Finland Agricultural Cooperative building in 1927, the Aaltos moved their office to Turku. They had made contact with the city's most progressive architect, Erik Bryggman before moving. They began collaborating with him, most notably on the Turku Fair of 1928–29. Aalto's biographer, Göran Schildt, claimed that Bryggman was the only architect with whom Aalto cooperated as an equal. With an increasing quantity of work in the Finnish capital, the Aaltos' office moved again in 1933 to Helsinki.

The Aaltos designed and built a joint house-office (1935–36) for themselves in Munkkiniemi, Helsinki, but later (1954–56) had a purpose-built office erected in the same neighbourhood – now the former is a "home museum" and the latter the premises of the Alvar Aalto Academy. In 1926, the young Aaltos designed and had built for themselves a summer cottage in Alajärvi, Villa Flora.

Aino and Alvar had two children, a daughter, Johanna "Hanni" (married surname Alanen; born 1925), and a son, Hamilkar Aalto (born 1928). Aino Aalto died of cancer in 1949.

In 1952, Aalto married architect Elissa Mäkiniemi (died 1994). In 1952, he designed and built a summer cottage, the so-called Experimental House, for himself and his second wife, now Elissa Aalto, in Muuratsalo in Central Finland. Alvar Aalto died on 11 May 1976, in Helsinki, and is buried in the Hietaniemi cemetery in Helsinki. Elissa Aalto became the director of the practice, running the office from 1976 to 1994. In 1978, the Museum of Finnish Architecture in Helsinki arranged a major exhibition of Aalto's works.

Early career: classicism
Although he is sometimes regarded as among the first and most influential architects of Nordic modernism, closer examination reveals that Aalto (while a pioneer in Finland) closely followed and had personal contacts with other pioneers in Sweden, in particular Gunnar Asplund and Sven Markelius. What they and many others of that generation in the Nordic countries shared was a classical education and an approach to classical architecture that historians now call Nordic Classicism. It was a style that had been a reaction to the previous dominant style of National Romanticism before moving, in the late 1920s, towards Modernism.

Upon returning to Jyväskylä in 1923 to establish his own architect's office, Aalto designed several single-family homes designed in the style of Nordic Classicism. For example, the manor-like house for his mother's cousin Terho Manner in Töysa (1923), a summer villa for the Jyväskylä chief constable (also from 1923) and the Alatalo farmhouse in Tarvaala (1924). During this period he completed his first public buildings, the Jyväskylä Workers' Club in 1925, the Jyväskylä Defence Corps Building in 1926 and the Seinäjoki Civil Guard House building in 1924–29. He entered several architectural competitions for prestigious state public buildings, in Finland and abroad. This included two competitions for the Finnish Parliament building in 1923 and 1924, the extension to the University of Helsinki in 1931, and the building to house the League of Nations in Geneva, Switzerland, in 1926–27.

Aalto's first church design to be completed, Muurame church, illustrates his transition from Nordic Classicism to Functionalism.

This was the period when Aalto was most prolific in his writings, with articles for professional journals and newspapers. Among his most well-known essays from this period are "Urban culture" (1924), "Temple baths on Jyväskylä ridge" (1925), "Abbé Coignard's sermon" (1925), and "From doorstep to living room" (1926).

Early career: functionalism
The shift in Aalto's design approach from classicism to modernism is epitomised by the Viipuri Library in Vyborg (1927–35), which went through a transformation from an originally classical competition entry proposal to the completed high-modernist building. His humanistic approach is in full evidence in the library: the interior displays natural materials, warm colours, and undulating lines. Due to problems related to financing, compounded by a change of site, the Viipuri Library project lasted eight years. During that time, Aalto designed the Standard Apartment Building (1928–29) in Turku, the Turun Sanomat Building (1929–30), and the Paimio Sanatorium (1929–32), which he designed in collaboration with his first wife Aino Aalto. A number of factors contributed to Aalto's shift towards modernism: his increased familiarity with international trends, facilitated by his travels throughout Europe; the opportunity to experiment with concrete prefabrication in the Standard Apartment Building; the cutting-edge Le Corbusier-inspired formal language of the Turun Sanomat Building; and Aalto's application of both in the Paimio Sanatorium and in the ongoing design for the library. Although the Turun Sanomat Building and Paimio Sanatorium are comparatively pure modernist works, they carried the seeds of his questioning of such an orthodox modernist approach and a move to a more daring, synthetic attitude. It has been pointed out that the planning principle for Paimio Sanatorium – the splayed wings – was indebted to the Zonnestraal Sanatorium (1925–31) by Jan Duiker, which Aalto visited while it was under construction. While these early Functionalist bear hallmarks of influences from Le Corbusier, Walter Gropius, and other key modernist figures of central Europe, Aalto nevertheless started to show his individuality in a departure from such norms with the introduction of organic references.

Through Sven Markelius, Aalto became a member of the Congres Internationaux d'Architecture Moderne (CIAM), attending the second congress in Frankfurt in 1929 and the fourth congress in Athens in 1933, where he established a close friendship with László Moholy-Nagy, Sigfried Giedion, and Philip Morton Shand. It was during this time that he closely followed the work of the main force driving the new modernism, Le Corbusier, visiting him in his Paris office several times in the following years.

It was not until the completion of the Paimio Sanatorium (1932) and Viipuri Library (1935) that Aalto first achieved world attention in architecture. His reputation grew in the US following the invitation to hold a retrospective exhibition of his works at MOMA in New York in 1938. (This was his first visit to the States.) The exhibition, which later went on a 12-city tour of the country, was a landmark: Aalto was the second-ever architect – after Le Corbusier – to have a solo exhibition at the museum. His reputation grew in the US following the critical reception of his design for the Finnish Pavilion at the 1939 New York World's Fair, described by Frank Lloyd Wright as a "work of genius". It could be said that Aalto's international reputation was sealed with his inclusion in the second edition of Sigfried Giedion's influential book on Modernist architecture, Space, Time, and Architecture: The growth of a new tradition (1949), in which Aalto received more attention than any other Modernist architect, including Le Corbusier. In his analysis of Aalto, Giedion gave primacy to qualities that depart from direct functionality, such as mood, atmosphere, intensity of life, and even national characteristics, declaring that "Finland is with Aalto wherever he goes."

Mid career: experimentation
During the 1930s Alvar spent some time experimenting with laminated wood, sculpture and abstract relief, characterized by irregular curved forms. Utilizing this knowledge, he was able to solve technical problems concerning the flexibility of wood while at the same time working out spatial issues in his designs. Aalto's early experiments with wood and his move away from a purist modernism would be tested in built form with the commission to design Villa Mairea (1939) in Noormarkku, the luxury home of young industrialist couple Harry and Maire Gullichsen. It was Maire Gullichsen who acted as the main client, and she worked closely not only with Alvar but also with Aino Aalto on the design, encouraging them to be more daring in their work. The building forms a U-shape around a central inner 'garden' whose central feature is a kidney-shaped swimming pool. Adjacent to the pool is a sauna executed in a rustic style, alluding to both Finnish and Japanese precedents. The design of the house is a synthesis of numerous stylistic influences, from traditional Finnish vernacular to purist modernism, as well as influences from English and Japanese architecture. While the house is clearly intended for a wealthy family, Aalto nevertheless argued that it was also an experiment that would prove useful in the design of mass housing.

His increased fame led to offers and commissions outside Finland. In 1941, he accepted an invitation as a visiting professor to the Massachusetts Institute of Technology in the US. During the Second World War, he returned to Finland to direct the Reconstruction Office. After the war, he returned to MIT, where he designed the student dormitory Baker House, completed in 1949. The dormitory flanked the Charles River, and its undulating form provided maximum view and ventilation for each resident. This was the first building of Aalto's redbrick period. Originally used in Baker House to signify the Ivy League university tradition, Aalto went on to use it in a number of key buildings after his return to Finland, most notably in several of the buildings in the new Helsinki University of Technology campus (starting in 1950), Säynätsalo Town Hall (1952), Helsinki Pensions Institute (1954), Helsinki House of Culture (1958), as well as in his own summer house, the Experimental House in Muuratsalo (1957).

In the 1950s Aalto immersed himself in sculpting, exploring wood, bronze, marble, and mixed media. Among the notable works from this period is his 1960 memorial to the Battle of Suomussalmi. Located on the battlefield, it consists of a leaning bronze pillar on a pedestal.

Mature career: monumentalism
Foremost among Aalto's work from the early 1960s until his death in 1976 were his projects in Helsinki, in particular the huge town plan for the void in the centre of Helsinki adjacent to Töölö Bay and the vast railway yards, an area marked on the edges by significant buildings such as the National Museum and the main railway station, both by Eliel Saarinen. In his town plan, Aalto proposed a line of separate marble-clad buildings fronting the bay, which would house various cultural institutions, including a concert hall, opera, museum of architecture, and headquarters for the Finnish Academy. The scheme also extended into the Kamppi district with a series of tall office blocks. Aalto first presented his vision in 1961, but it went through various modifications during the early '60s. Only two fragments of the overall plan were realized: the Finlandia Hall concert hall (1976) fronting on Töölö Bay and an office building in the Kamppi district for the Helsinki Electricity Company (1975). Aalto also employed the Miesian formal language of geometric grids used in those buildings for other sites in Helsinki, including the Enso-Gutzeit headquarters building (1962), the Academic Bookstore (1962), and the SYP Bank building (1969).

Following Aalto's death in 1976, his office continued to operate under the direction of his widow Elissa, who oversaw the completion of works already designed (to some extent), among them the Jyväskylä City Theatre and Essen opera house. Since the death of Elissa Aalto, the office has continued to operate as the Alvar Aalto Academy, giving advice on the restoration of Aalto buildings and organizing the practice's vast archives.

Furniture career
Although Aalto was famous for his architecture, his furniture designs were admired and are still popular today. He studied with the architect-designer Josef Hoffmann at the Wiener Werkstätte(engl.: "Vienna Workshop") and worked, for a time, under Eliel Saarinen. He also drew inspiration from Gebrüder Thonet. During the late 1920s and 1930s, he worked closely with Aino Aalto on his furniture designs, a focus due in part to his decision to design many of the individual furniture pieces and lamps for the Paimio Sanatorium. Of particular significance was the Aaltos' experimentation in bent plywood chairs, most notably the so-called Paimio chair, designed for tuberculosis patients, and the Model 60 stacking stool. The Aaltos, together with visual arts promoter Maire Gullichsen and art historian Nils-Gustav Hahl, founded the Artek company in 1935, ostensibly to sell Aalto products but which also imported pieces by other designers. Aalto became the first furniture designer to use the cantilever principle in chair designs using wood.

Awards
Aalto's awards included the Prince Eugen Medal in 1954, the Royal Gold Medal for Architecture from the Royal Institute of British Architects in 1957 and the Gold Medal from the American Institute of Architects in 1963. He was elected a Foreign Honorary Member of the American Academy of Arts and Sciences in 1957. He also was a member of the Academy of Finland, and was its president from 1963 to 1968. From 1925 to 1956 he was a member of the Congrès International d'Architecture Moderne. In 1960 he received an honorary doctorate at the Norwegian University of Science and Technology (NTNU).

Works
Aalto's career spans the changes in style from (Nordic Classicism) to purist International Style Modernism to a more personal, synthetic, and idiosyncratic Modernism. Aalto's wide field of design activity ranges from large-scale projects such as city planning and architecture to more intimate, human-scale work in interior design, furniture and glassware design, and painting. It has been estimated that during his entire career Aalto designed over 500 individual buildings, approximately 300 of which were built. The vast majority of them are in Finland. He also has a few buildings in France, Germany, Italy, and the US.

Aalto's work with wood was influenced by early Scandinavian architects. His experiments and bold departures from aesthetic norms brought attention to his ability to make wood do things not previously done. His techniques in the way he cut beech wood, for example, and his ability to use plywood as a structural element while at the same time exploiting its aesthetic properties, were at once technically innovative and artistically inspired. Other examples of his boundary-pushing sensibility include the vertical placement of rough-hewn logs at his pavilion at the Lapua expo, a design element that evoked a medieval barricade. At the orchestra platform at Turku and the Paris expo at the World Fair, he used varying sizes and shapes of planks. Also at Paris (and at Villa Mairea), he utilized birch boards in a vertical arrangement. His Vyborg Library, built in what was then Viipuri (it became Vyborg after Soviet annexation in 1944), is acclaimed for its stunning ceiling, with its undulating waves of red-hearted pine (which grows in the region ). In his roofing, he created massive spans (155-foot at the covered stadium at Otaniemi), all without tie rods. In his stairway at Villa Mairea, he evokes the feeling of a natural forest by binding beech wood with withes into columns.

Aalto claimed that his paintings were not made as individual artworks but as part of his process of architectural design, and many of his small-scale "sculptural" experiments with wood led to later larger architectural details and forms. These experiments also led to a number of patents: for example, he invented a new form of laminated bent-plywood furniture in 1932 (which was patented in 1933). His experimental method had been influenced by his meetings with various members of the Bauhaus design school, especially László Moholy-Nagy, whom he first met in 1930. Aalto's furniture was exhibited in London in 1935, to great critical acclaim. To cope with the consumer demand, Aalto, together with his wife Aino, Maire Gullichsen, and Nils-Gustav Hahl founded the company Artek that same year. Aalto glassware (Aino as well as Alvar) is manufactured by Iittala.

Aalto's 'High Stool' and 'Stool E60' (manufactured by Artek) are currently used in Apple Stores across the world to serve as seating for customers. Finished in black lacquer, the stools are used to seat customers at the 'Genius Bar' and also in other areas of the store at times when seating is required for a product workshop or special event. Aalto was also influential in bringing modern art to the attention of the Finnish people, in particular the work of his friends Alexander Milne Calder and Fernand Léger.

Significant buildings

 * 1921–1923: Bell tower of Kauhajärvi Church, Lapua, Finland
 * 1924–1926: Seinäjoki Civil Guard House, Seinäjoki, Finland
 * 1924–1928: Municipal hospital, Alajärvi, Finland
 * 1926–1929: Defence Corps Building, Jyväskylä, Finland
 * 1927–1928: South-West Finland Agricultural Cooperative building, Turku, Finland
 * 1927–1935: Municipal library, Viipuri, Finland (now Vyborg, Russia)
 * 1928–1929, 1930: Turun Sanomat newspaper offices, Turku, Finland
 * 1928–1933: Paimio Sanatorium, Tuberculosis sanatorium and staff housing, Paimio, Finland
 * 1931: Toppila paper mill in Oulu, Finland
 * 1931: Central University Hospital, Zagreb, Croatia (former Yugoslavia)
 * 1932: Villa Tammekann, Tartu, Estonia
 * 1934: Corso theatre, restaurant interior, Zürich, Switzerland
 * 1936–1939: Ahlstrom Sunila Pulp Mill, Housing, and Town Plan, Kotka, Finland
 * 1937–1939: Villa Mairea, Noormarkku, Finland
 * 1939: Finnish Pavilion, at the 1939 New York World's Fair
 * 1945: Sawmill at Varkaus, Finland
 * 1947–1948: Baker House, Massachusetts Institute of Technology, Cambridge, Massachusetts, U.S.
 * 1949–1966: Helsinki University of Technology, Espoo, Finland
 * 1949–1952: Säynätsalo Town Hall, Säynätsalo (now part of Jyväskylä), Finland; 1949 competition, built 1952
 * 1950–1957: National Pension Institution office building, Helsinki, Finland
 * 1951–1971: University of Jyväskylä various buildings and facilities on the university campus, Jyväskylä, Finland
 * 1952–1958: House of Culture, Helsinki, Finland
 * 1953: The Experimental House, Muuratsalo, Finland
 * 1953–1955: Rautatalo office building, Helsinki, Finland
 * 1956–1958: Home for Louis Carré, Bazoches, France
 * 1956–1958: Church of the Three Crosses, Vuoksenniska, Imatra, Finland
 * 1957–1967: city center (library, theatre, City Hall, Lakeuden Risti Church and central administrative buildings), Seinäjoki, Finland
 * 1958: Post and telegraph office, Baghdad, Iraq
 * 1958–1972: KUNSTEN Museum of Modern Art Aalborg, Aalborg, Denmark
 * 1959–1962: Community Centre, Wolfsburg, Germany
 * 1959–1962: Church of the Holy Ghost (Heilig-Geist-Gemeindezentrum), Wolfsburg, Germany
 * 1959–1962: Enso-Gutzeit headquarters, Helsinki, Finland
 * 1961–1975: Lappia Hall performing arts and conference venue, Rovaniemi, Finland; part of the city's 'Aalto Centre'
 * 1962: Aalto-Hochhaus, Bremen, Germany
 * 1964–1965: Kaufmann Conference Center at the Institute of International Education, New York City, U.S.
 * 1965: Rovaniemi library, Rovaniemi, Finland
 * 1962–1971: Finlandia Hall, Helsinki, Finland
 * 1963–1968: Church of St Stephen (Stephanus Kirche), Detmerode, Wolfsburg, Germany
 * 1963–1965: Building for Västmanland-Dala nation, Uppsala, Sweden
 * 1967–1970: Library at the Mount Angel Abbey, St. Benedict, Salem, Oregon, U.S.
 * 1965–1968: Nordic House, Reykjavík, Iceland
 * 1966: Church of the Assumption of Mary, Riola di Vergato, Italy (built 1975–1978)
 * 1973: Alvar Aalto Museum, a.k.a. Taidemuseo, Jyväskylä, Finland
 * 1970–1973: Sähkötalo, Helsinki, Finland
 * 1978 (completed): Ristinkirkko, Lahti, Finland
 * 1959–1988: Essen opera house, Essen, Germany
 * 1986: Rovaniemi city hall, Rovaniemi, Finland

Furniture and glassware

 * Chairs
 * 1932: Paimio Chair
 * 1933: Model 60 stacking stool
 * 1933: Four-legged Stool E60
 * 1935–36: Armchair 404 (a/k/a/ Zebra Tank Chair)
 * 1939: Armchair 406
 * Lamps
 * 1954: Floor lamp A805
 * 1959: Floor lamp A810
 * Vases
 * 1936: Aalto Vase

Quotations

 * "God created paper for the purpose of drawing architecture on it. Everything else, at least for me, is a misuse of paper." Alvar Aalto, "In lieu of an article", Arkkitehti no. 1-2, 1958.
 * "We should work for simple, good, undecorated things...things which are in harmony with the human being and organically suited to the little man in the street." Alvar Aalto, speech in London 1957.
 * "It’s not an art to take and copy everything from tradition or past. It’s necessary to take the material and energy from nature and respond with the work of art, bringing your own psychical energy into it. We are prone to take everything from nature without giving anything in return. That’s not good – it can take a revenge on us.”

Critique of Aalto's architecture
As mentioned above, Aalto's international reputation was sealed with his inclusion in the second edition of Sigfried Giedion's influential book on Modernist architecture, Space, Time and Architecture: The growth of a new tradition (1949), in which Aalto received more attention than any other Modernist architect, including Le Corbusier. In his analysis of Aalto, Giedion gave primacy to qualities that depart from direct functionality, such as mood, atmosphere, intensity of life and even national characteristics, declaring that "Finland is with Aalto wherever he goes."

More recently, however, some architecture critics and historians have questioned Aalto's influence on the historical canon. The Italian Marxist architecture historians Manfredo Tafuri and Francesco Dal Co contend that Aalto's "historical significance has perhaps been rather exaggerated; with Aalto we are outside of the great themes that have made the course of contemporary architecture so dramatic. The qualities of his works have a meaning only as masterful distractions, not subject to reproduction outside the remote reality [sic] in which they have their roots." At the heart of their critique was the perception of Aalto's work as unsuited to the urban context: "Essentially, his architecture is not appropriate to urban typologies."

At the other end of the political spectrum (though similarly concerned with the appropriateness of Aalto's formal language), the American cultural theorist and architectural historian Charles Jencks singled out his Pensions Institute as an example of what he termed the architect's "soft paternalism": "Conceived as a fragmented mass to break up the feeling of bureaucracy, it succeeds all too well in being humane and killing the pensioner with kindness. The forms are familiar – red brick and ribbon-strip windows broken by copper and bronze elements – all carried through with a literal-mindedness that borders on the soporific."

During his lifetime, Aalto faced criticisms from his fellow architects in Finland, most notably Kirmo Mikkola and Juhani Pallasmaa. By the last decade of Aalto's life, his work was seen as unfashionably individualistic at a time when the opposing tendencies of rationalism and constructivism – often championed under left-wing politics – argued for anonymous, aggressively non-aesthetic architecture. Of Aalto's late works, Mikkola wrote, "Aalto has moved to [a] baroque line..."

Memorials
Aalto has been commemorated in a number of ways:
 * Alvar Aalto is the eponym of the Alvar Aalto Medal, an international architecture award.
 * Aalto was featured in the 50 mk note in the last series of the Finnish markka (before its replacement by the Euro in 2002).
 * The centenary of Aalto's birth in 1998 was marked in Finland not only by several books and exhibitions, but also by the promotion of specially bottled red and white Aalto Wine and a specially designed cupcake.
 * In 1976, the year of his death, Aalto was commemorated on a Finnish postage stamp.
 * Piazza Alvar Aalto, a square named after Aalto, can be found in the Porta Nuova business district of Milan, Italy.
 * Aalto University, a Finnish university formed by merging Helsinki University of Technology, Helsinki School of Economics and TaiK in 2010, is named after Alvar Aalto.
 * An Alvar Aallon katu (Alvar Aalto Street) can be found in five different Finnish cities: Helsinki, Jyväskylä, Oulu, Kotka and Seinäjoki.
 * In 2017, the Alvar Aalto Museum launched Alvar Aalto Cities, that is, a network of cities containing buildings by Alvar Aalto. The objective of the network is to increase awareness of Aalto's work both in Finland and abroad. It is hoped that by combining forces on communications and marketing, the visibility and accessibility of exhibitions, tourist attractions and events will be improved. To date, the network city members are: Aalborg, Alajärvi, Espoo, Eura, Hamina, Helsinki, Imatra, Jyväskylä, Järvenpää, Kotka, Kouvola, Lahti, Oulu, Paimio, Pori, Raseborg, Rovaniemi, Seinäjoki, Turku, Vantaa and Varkaus. It is estimated that in total there would be 40 cities worldwide that would qualify as an Alvar Aalto City.

title: Alvar Aalto