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Artek – a Bridge to the International Art World
Issue No. 3/2017 Artek – a Bridge to the International Art World Susanna Pettersson, PhD, Museum Director, Finnish National Gallery, Ateneum Art Museum Also published in Sointu Fritze (ed.), Alvar Aalto – Art and the Modern Form. Ateneum Publications Vol. 93. Helsinki: Finnish National Gallery / Ateneum Art Museum, 2017, 48–69. Transl. Wif Stenger The exhibitions organised by the Artek gallery enjoy an almost iconic status in the field of Finnish art. These exhibitions were bold and ambitious. The idea behind them was to bring together modern art, industry, interior design and ‘propaganda’, by which was meant publishing activity. The exhibitions also left a lasting mark on Finnish art and on the Ateneum art collection. ‘Europe – its symbol could be […] an airplane above a cathedral. America – its symbol is an airplane above a skyscraper. In the latter picture, there is perfect harmony. In the first there is not. The former represents the present day. The latter, the future.’ 1 It was with these words that the writer Olavi Paavolainen, in his book Nykyaikaa etsimässä (In Search of Modern Time), published in 1929, expressed his generation’s desire to see the world through new eyes. Finnish artists were accustomed to finding inspiration broadly in European countries, primarily in France, Germany and Italy. Paavolainen had, in his dreams, travelled further afield, as far as New York and Chicago. Paavolainen’s book tackled three themes: the modern European lifestyle, new trends in art and the new image of humanity. Paavolainen wrote with great passion on behalf of modernity and against conservatism. He emphasised that in ‘developing a modern view of life’ one should pay attention to all the arts, meaning literature, the visual arts, theatre and music. -
ARTEK – Furnishing a Nation
Alvar Aalto Researchers’ Network Seminar – Why Aalto? 9-10 June 2017, Jyväskylä, Finland ARTEK – Furnishing a nation Laura Berger Doctoral candidate Department of Architecture Aalto University, Finland address: Töölönkatu 50 D 82 00250 Helsinki tel: +358 44 065 33 59 email: [email protected] Laura Berger Doctoral candidate Department of Architecture Aalto University, Finland ARTEK - Furnishing a nation ‘As a child, I was afraid of this chair. The chair lived upstairs my grandparents house. It was unsteady. It was difficult to climb to sit on it, and impossible to stand on. Adults forbade standing on the chair, and after an attempt even a four-year-old realised the stool was not meant for this purpose. Quite a few others have not been afraid of this chair, because Alvar Aalto ‘stool number 60’ has been sold in millions since it was first designed in 1933..’1 This is a description by a journalist in a Finnish interior magazine ‘Deko’, which leads me to the topic of this paper. This paper begins with two notions: First, it is suggested that an essential part of Alvar Aalto’s fame is rooted in furniture designs and the distribution of these via the Artek company, established in 1935. Second, the hypothesis is that so many Finns, far beyond architecture and design enthusiasts recognise Aalto’s name still today because the Artek furniture remains to be part of many peoples’ mundane, ’everyday life’. The motivation for focusing on Artek furnishings in buildings not by Aalto is on one hand to not tease apart Artek’s independent role, but on the other hand, because living in Finland, I have found myself only too often awakening to the realisation of being surrounded by Artek furniture in spaces as kindergartens, hospitals, governmental offices, and libraries. -
Yolanda Ortega Sanz Universitat De Girona
Yolanda Ortega Sanz Universitat de Girona Yolanda Ortega Sanz is an architect Her research has been published and pre- and associate professor at Polytechnic sented in several conferences as: 1st In- School, Universitat de Girona, Catalonia, ternational Conference on contemporary Spain; where she teaches architectural architects: Jørn Utzon, Sevilla, Spain; 1st design. Ortega was educated at School of Conference on architectural competition, architecture in Barcelona and Arkitekts- Nordic Symposium, KTH, Stockholm, kolen i Aarhus, Denmark. Later on, she Sweden; or Responsibilities and Oppor- received a grant to be a young researcher tunities in Architectural Conservation, at Danmarks Kunstbibliotek, Copenhagen. CSAAR, Amman, Jordan. Currently, she is PhD Candidate in the research group FORM where she develops her thesis entitled “Nordic assembly” focus on Modern Architecture in Nordic countries. Welfare State. Sociological Aesthetics Welfare | Ortega Sanz | 474 WELFARE STATE. SOCIOLOGICAL AESTHETICS Modern architecture and democracy on Nordic countries, Denmark [My theme] concerns itself with the creation of beauty and with the measure of its reverberations in the democratic society. By the word “democracy” […] I speak of the form of life which, without political iden- tification, is slowly spreading over the whole world, establishing itself upon the foundation of increasing industrialization, growing communi- cation and information services, and the broad admission of the masses to higher education and the right to vote. What is the relationship of this form of life to art and architecture today? Walter Gropius1 ERBE DER MODERNE DAS In 1954, thirty-five years after founding the Bauhaus, Walter Gropius travelled around the world, revising his ideas about a democratic environment for the twentieth-century man. -
Architecture NA
The Oxford Companion to Architecture NA Volume 1: A-J Aalto, Hugo Alvar Henrik C/lalto. Hugo Alvar HenrilT^i 898-1976) Finnish architect, the youngest by ten years of the masters of the Modern Movement (see MODERNISM). He set up his practice in 1922, and contributed briefly but with distinction to the body of work known as Nordic Classicism, of which his Swedish neighbours, *Asplund and *Lewerentz, were the dominant figures. Saynatsalo Town Hall, Finland (Alvar Aalto, 1949-52) This was just when Scandinavia was engaging with the ambitions of the Modern Movement, which were striking originality, which won for him accolades from to be brilliantly celebrated in Asplund's Stockholm both Le Corbusier and (rare indeed) Frank Lloyd exhibition of 1930. Wright. The outstanding buildings were the office In 1927 Aalto won the competition for a public headquarters for Turun Sanomat newspaper in Turku, library in Viipuri with a project that evolved quickly the Sanatorium at Paimio (1932), the Viipuri Library from Nordic classicist precedent into an inspired (1934), his own home and office in Helsinki (1937), the interpretation of the new values. His approach was Villa Mairea (1939), and two major Exhibition pavilions, fundamentally functionalist, but was unique in its at Paris (1937) and New York (1939). This group of attention to the personal experience and participation buildings was accompanied by an equally original by the users of the building. Thus the conditions of range of furniture and light-fittings, sensitively adapted study (and in particular the incidence of both natural to the user's perception and sense of touch. -
Nordic Classicism : Scandinavian Architecture 1910-1930 Pdf, Epub, Ebook
NORDIC CLASSICISM : SCANDINAVIAN ARCHITECTURE 1910-1930 PDF, EPUB, EBOOK John Stewart | 208 pages | 06 Feb 2020 | Bloomsbury Publishing PLC | 9781350154445 | English | London, United Kingdom Nordic Classicism : Scandinavian Architecture 1910-1930 PDF Book Visit the Australia site Continue on UK site. Engagement: Town Hall in Denmark. The only applied decoration is a relief of the Swedish coat of arms above the main entrance. About this product. Aalto was married twice. In the Nordic countries the lighting conditions and the weather are constantly changing. Finally, the best way to contemplate on Scandinavian architecture is to take a look at the examples. For the farmers and fishermen things need only be simple, basic, useful and essential. Alvar Aalto is remembered with the likes of Gropius, Le Corbusier, and van der Rohe as a major influence on 20th century modernism. Show More Show Less. But as time went on, they got more complex. See all in World Architecture. Packaging should be the same as what is found in a retail store, unless the item is handmade or was packaged by the manufacturer in non-retail packaging, such as an unprinted box or plastic bag. Yet what was conceived before tended to get overshadowed, such that socalled Swedish Grace with its classical resonances appeared alien to avant-gardism. Yet this brief classsical movement was quickly eclipsed by the rise of international modernism, and has often been overlooked in architectural studies. Go To Basket. Learn more…. The original occupant, also known in English as the Social Security Administration, remained until They were built of wood, and had stone walls around the base. -
Architectural Research in Sweden After Le Corbusier's Projects
DOI: http://dx.doi.org/10.4995/LC2015.2015.893 Experimenting with prototypes: architectural research in Sweden after Le Corbusier’s projects I. Campo-Ruiz Escuela Técnica Superior de Arquitectura de Madrid, Universidad Politécnica de Madrid Abstract: Le Corbusier’s architectural production throughout the twentieth century served as a reference for subsequent developments in architecture and urban planning in Sweden. Some of the buildings and urban plans subsequently developed in Sweden and influenced by Le Corbusier’s ideas and projects also impacted on the international architectural scene. This research analyses how the study of Le Corbusier’s works affected projects in Sweden from the 1920s to the 1970s and how they also became an international standard. Le Corbusier’s works provided a kind of prototype, with which Swedish architects experimented in alternative ways. During the 1920s, Le Corbusier’s Pavilion de l’Esprit Nouveau and the Stuttgart Weissenhofsiedlung impressed influential Swedish architect, including Uno Åhrén, Gunnar Asplund and Sven Markelius, who later became proponents of modernism in Sweden. The 1930 Stockholm Exhibition marked a breakthrough for functionalism in Sweden. After 1930, urban plans for Stockholm and its suburbs reflected some of Le Corbusier’s ideas, such as the urban plan by Sven Markelius, and Vällingby’s town centre by Leif Reinius and Sven Backström. After 1950, Léonie Geisendorf , Ralph Erskine, Sigurd Lewerentz and Peter Celsing placed considerable emphasis on rough texture in poured concrete. Lewerentz, who admired the works of Le Corbusier, designed the churches of Markuskyrkan in 1956 and St Peter’s in Klippan in 1966, with a wider international impact. -
PALE NORDIC ARCHITECTURE Why Are Our Walls So White?
PALE NORDIC ARCHITECTURE Why are our walls so white? BATCHELOR’S THESIS SISKO ANTTALAINEN AALTO UNIVERSITY PALE NORDIC ARCHITECTURE – WHY ARE OUR WALLS SO WHITE? – ABSTRACT The aim was to investigate the perception of whiteness in Nordic architecture and analyse the rea- sons behind the pale colour scheme in a public space context. The word pale was used alongside with white, since it gave broader possibilities to ponder over the topic. The geographical research area was framed to cover Sweden and Finland, although the search for underlying reasons extended beyond the borders of the North. Architecture was viewed as an entity, including both exteriors and interiors. The focus was on reasoning around the question “why” to arouse professional discourse about the often-unquestioned topic. Analysing the background of a commonly acknowledged phe- nomenon strives to make architects more conscious of the background of their aesthetics so that future decisions can be based on a more complex set of knowledge rather than leaning on tradition. Because of the wide demarcation of the research question, the project started with self-formulated hypothesis, after which they were thoroughly analysed. The formulated pre-assumptions were, that the Nordic paleness is, firstly, a consequence of misinterpreted past architecture. Moreover, natu- ral circumstances of the North, the symbolism connected to white and the tradition of canonising modernism were established as hypothesis. Lastly, architect education, combined with the tendency of prototyping with white materials were assumed to endorse the pale colour scheme. The misinter- pretations’ possible implication in the perception of whiteness was also examined as a part of the re- 1 search. -
Lecture Handouts, 2013
Arch. 48-350 -- Postwar Modern Architecture, S’13 Prof. Gutschow, Classs #1 INTRODUCTION & OVERVIEW Introductions Expectations Textbooks Assignments Electronic reserves Research Project Sources History-Theory-Criticism Methods & questions of Architectural History Assignments: Initial Paper Topic form Arch. 48-350 -- Postwar Modern Architecture, S’13 Prof. Gutschow, Classs #2 ARCHITECTURE OF WWII The World at War (1939-45) Nazi War Machine - Rearming Germany after WWI Albert Speer, Hitler’s architect & responsible for Nazi armaments Autobahn & Volkswagen Air-raid Bunkers, the “Atlantic Wall”, “Sigfried Line”, by Fritz Todt, 1941ff Concentration Camps, Labor Camps, POW Camps Luftwaffe Industrial Research London Blitz, 1940-41 by Germany Bombing of Japan, 1944-45 by US Bombing of Germany, 1941-45 by Allies Europe after WWII: Reconstruction, Memory, the “Blank Slate” The American Scene: Pearl Harbor, Dec. 7, 1941 Pentagon, by Berman, DC, 1941-43 “German Village,” Utah, planned by US Army & Erich Mendelsohn Military production in Los Angeles, Pittsburgh, Detroit, Akron, Cleveland, Gary, KC, etc. Albert Kahn, Detroit, “Producer of Production Lines” * Willow Run B-24 Bomber Plant (Ford; then Kaiser Autos, now GM), Ypsilanti, MI, 1941 Oak Ridge, TN, K-25 uranium enrichment factory; town by S.O.M., 1943 Midwest City, OK, near Midwest Airfield, laid out by Seward Mott, Fed. Housing Authortiy, 1942ff Wartime Housing by Vernon Demars, Louis Kahn, Oscar Stonorov, William Wurster, Richard Neutra, Walter Gropius, Skidmore-Owings-Merrill, et al * Aluminum Terrace, Gropius, Natrona Heights, PA, 1941 Women’s role in the war production, “Rosie the Riverter” War time production transitions to peacetime: new materials, new design, new products Plywod Splint, Charles Eames, 1941 / Saran Wrap / Fiberglass, etc. -
Tavasthem (1950)
En egen vrå i ett delat hem - hållbara lösningar för ökad trivsel i Erik Bryggmans (1891-1955) Tavasthem (1950) Katja Långvik, 23302 Pro gradu i konstvetenskap Handledare: Pia Wolff-Helminen och Kari Kotkavaara Fakulteten för humaniora, psykologi och teologi Åbo Akademi 2017 ÅBO AKADEMI FAKULTETEN FÖR HUMANIORA, PSYKOLOGI OCH TEOLOGI Abstract avhandling pro gradu Ämne: Konstvetenskap Författare: Katja Långvik Arbetets titel: En egen vrå i ett delat hem – hållbara lösningar för ökad trivsel i Erik Bryggmans (1891 – 1955) Tavasthem (1950) Handledare: Pia Wolff-Helminen Handledare: Kari Kotkavaara Återuppbyggandet efter andra världskriget innebar ett stort behov av nya lösningar för boende. Antalet studerande i universitetsstäderna ökade markant och förändringar i bostadsidealen försämrade tillgången av underhyresalternativ. Studentkårer och nationer i Finland åtgärdade bostadsbristen genom att bygga egna studenthem. Åbo Akademis Studentkår lät bygga ett studenthem ritat av arkitekt Erik Bryggman (1891 – 1955) på Tavastgatan 22 i Åbo. På samma tomt fanns redan av samma arkitekt ritade Kårhus (1936), som förenades med studenthemmet. Av helheten behandlas i det här arbetet endast studenthemsdelen, som också kallas för Tavasthem (1950). Syftet med avhandlingen är att visa att Erik Bryggman i Tavasthem (1950) har lyckats skapa hållbara lösningar för ökad trivsel i studenthemmet. Genom form- och stilanalys identifieras stilistiska inslag och praktiska lösningar som arkitekten har valt för att öka trivseln i studentboendet inom ramen för byggprojektets ekonomiska förutsättningar. I avhandlingen söks svar på hur den funktionalistiska bostadsplaneringens ideal syns i de valda lösningarna och hur hållbara de varit ur ekonomiska, ekologiska och sociala synvinklar. Materialet granskas ur ett socialhistoriskt perspektiv och kontexten utgörs av uppkomsten av studentboende som en form av socialt byggande i Finland på 1940-talet. -
COLLECTOR´S GAZE the Art Collections of Kristian and Kirsi Gullichsen & Juhani and Hannele Pallasmaa Pori Art Museum 07.06
COLLECTOR´S GAZE The Art Collections of Kristian and Kirsi Gullichsen & Juhani and Hannele Pallasmaa Pori Art Museum 07.06. - 08.09.2013. Exhibition architect: Kirsi Gullichsen Media Day Thursday 06 June 2013 at 11.00 Collector Talk Friday 07 June 2013 at 12.00 Opening Friday 07 June 2013 at 18.00 At present, the building is the main thing in art museums and art is an alibi for constructing it. The works then decorate these excellent spaces. The Pori Art Museum follows a completely opposite idea. Kristian Gullichsen In 2006, the Pori Art Museum launched a series of exhibitions entitled THE COLLECTOR’S GAZE. Opening in June 2013, Art from the Collections of Kristian and Kirsi Gullichsen and Juhani and Hannele Pallasmaa is the fourth in the series, and completely exceptional. The museum’s exhibition spaces will now meet the personal collection of the designer of the museum building together with close colleagues and their collections. What happens to a work of art when it is transferred from one context of interpretation, one environment, to another – from the artist’s studio to a gallery, and from there to a collector’s home and in turn to an art museum? How is the dialogue of the exhibition space, art and architecture formed? What happens to architecture when its navel is cut, when it distances itself from the visual arts that link to shared existentialist soil? What is collecting, and what is a collection? Is it something that is consciously constructed? Or did art just become part of life and did the art works find their way into the collector’s home? The concept of art produced by art history and maintained by museums has only grudgingly accepted references to private tastes in art. -
Functionalism Is a Finnish Thing
Oct 29, 2015 10:47 UTC Functionalism is a Finnish thing Finns like it practical and adjust their homes so that everyday life is as easy as possible. But don’t you get bored of that? Will functionalism continue to be important in the future? “Such beautiful functionalism!” The spontaneous remark by American dinner guests inspired me to look at my home through new eyes. Well, yes, the furniture is practical; there are hardly any items that are not needed and anything that might get in the way had been put away in closets for the visit. My guests had it right in the sense that our house is carefully measured. In our standardised house, the renovation projects have been designed to better take into account situations that come up in everyday life. Finns are used to demanding functionality. Kari Lappalainen, who has worked in the field for over 20 years and is the founder of an interior decoration agency bearing his name, sees this in his work. If an apartment lacks functionality, people will want to add it to their home, even if the house has to be refurbished. Lappalainen has worked on such projects before. A roof over your head or luxury? Lappalainen has excellent insight into what Finns look for in a home. He thinks Finns can be roughly divided into three groups. About one in five people think that the outcome really does not matter that much. They could be described with the phrase: “As long as I have a roof over my head.” “The clear majority, about 70 per cent of people, demand much more from the functions of the apartment and understand how many benefits the functionality of housing has in everyday life. -
Dronningegården En Het Continuüm Van Kay Fisker Dronningegården
Job Floris Job Floris a plant is a machine to bear flowers and seeds, and a heart is a pump. Does that thrill you? The Het Nederlandse architectuurdiscours lijkt in de During the post-war reconstruction years mod- least any of these things only may be is just that.2 wederopbouwjaren vooral gedomineerd te zijn ernism appears to have dominated the Dutch archi- door het modernisme, waardoor tegengeluiden tecture discourse, thereby effectively marginalising Het platform voor publicatie van Fiskers artikel is en nuanceringen werden gemarginaliseerd. De all other developments and perspectives. Danish zorgvuldig gekozen. Op het moment van publicatie Deense architect Kay Fisker (1893-1965) kan tot architect Kay Fisker (1893-1965) can be seen as heeft Forum de intentie een dialoog tot stand te een van die kritische stemmen gerekend worden, one of the few critical voices, which is why he remains brengen tussen modernisten en traditionalisten. waardoor hij een relatief onbekende figuur in de a relatively unknown figure within the Dutch con- De publicatie maakt duidelijk dat Fisker op zoek was Nederlandse context is gebleven. Ten onrechte, text. This is unfortunate, because there is a lot of naar geestverwanten, oude en nieuwe. Het werk want Fisker volgde een agenda die aanknopings- common ground between Fisker’s agenda and both van Fisker wordt door historicus Stanford Anderson punten had met zowel het Nederlandse als een the Dutch and wider European discourses. In 1948 gecategoriseerd als Nieuw Empiricisme3 en door breder Europees discours. In 1948 wordt hij he garnered attention in the Netherlands with ‘Louis hem in een Europees discours geplaatst, met zichtbaar in Nederland met het artikel ‘Louis Henry Henry Sullivan’, an article about the architect’s life geestverwanten in Groot-Brittannië en Zwitserland.