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Finland: Architecture and Design 2022
Finland: Architecture and Design 2022 13 SEP – 26 SEP 2022 Code: 22237 Tour Leaders Stephen Crafti Physical Ratings For 14 days, architecture and design writer Stephen Crafti charts the very latest in Finland contemporary art, architecture, furniture and fashion. Overview With architecture and design writer Stephen Crafti, explore the very best of Finland’s modernist and contemporary art, architecture, furniture and fashion in Helsinki, Jyväskylä, Seinäjoki and Turku. Begin in Finland’s capital, Helsinki visiting the Design Museum and the Museum of Finnish Architecture. Accompanied by an architect, discover Helsinki’s rich architectural history; visit Eliel Saarinen’s Central Station, the Chapel of Silence, Oodi – the new Helsinki Central Public Library, and the famous Finlandia Hall. Experience a private visit of the multi-award winning Amos Rex Art Museum, accompanied by project mastermind Asmo Jaaksi, JKMM Architects. Meet with Tuuli Sotamaa in her renowned design studio Ateljé Sotamaa. Tours of the Artek Flagship store and the Aalto House and Studio introduce us to Alvar Aalto, Finland’s most famous architect of the 20th century. At Marimekko Outlet, see some examples of world-renowned Marimekko prints. Tour the private showroom of Marita Huurinainen, famous for her ‘wave shoes’. Meet new artists at the Design Lab at the Iittala & Arabia Design Centre. View contemporary art at Didrichsen Art Museum, a seaside villa designed by Alvar Aalto’s assistant, Viljo Revell. Meet designer Harri Koskinen and learn about his internationally renowned range of products. Travel through Finnish forests to Lahti to view its wooden architecture and understand more about the relationship Finns share with wood; in Haltia, tour the award-winning Finnish Nature Centre. -
Aalto and History
Keynote - Alvar Aalto Researchers’ Network March 12th – 14th 2012, Seinäjoki and Jyväskylä, Finland Aalto and history Aino Niskanen Professor Aalto University, School of Arts, Design and Architecture Department of Architecture Finland [email protected] Publisher Alvar Aalto Museum ISSN-L 2323-6906 ISSN 2323-6906 www.alvaraalto.fi www.alvaraaltoresearch.fi Keynote - Alvar Aalto Researchers’ Network March 12th – 14th 2012, Seinäjoki and Jyväskylä, Finland www.alvaraaltoresearch.fi In the present seminar the history of Alvar Aalto’s work is being dealt with on many different levels. As an introduction, I should like to discuss Aalto’s relationship with history. Many of the presentations over the course of the seminar will no doubt take these issues further. What do we know about Aalto’s formative years as an architect? During the period he was studying at the Helsinki Institute of Technology, 1916-1921, the teaching there had a strong emphasis on history: examples from the antiquities beckoned as a foundation for everything new. (Fig 1) Fig 1. Alvar Aalto in 1916. Photo: Schildt, Göran: The Early Years, p. 75. Nevertheless, those teachers considered important by Aalto were, according to Göran Schildt, above all important as pedagogues of attitudes: Usko Nyström, who taught the history of architecture of the antiquities and Middle Ages, emphasised the values of modesty, humanity, vitality, comfort and practicality. Armas Lindgren, who taught more recent architectural history, awoke a love in Aalto for Italian Renaissance architecture and an understanding of the organic thinking of Jugend architecture.1 In the paintings he made during his youth Aalto often portrayed historically layered urban milieus. -
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. -
Paimio Sanatorium
MARIANNA HE IKINHEIMO ALVAR AALTO’S PAIMIO SANATORIUM PAIMIO AALTO’S ALVAR ARCHITECTURE AND TECHNOLOGY ARCHITECTURE AND TECHNOLOGY: : PAIMIO SANATORIUM ARCHITECTURE AND TECHNOLOGY: Alvar Aalto’s Paimio Sanatorium TIIVISTELMÄ rkkitehti, kuvataiteen maisteri Marianna Heikinheimon arkkitehtuurin histo- rian alaan kuuluva väitöskirja Architecture and Technology: Alvar Aalto’s Paimio A Sanatorium tarkastelee arkkitehtuurin ja teknologian suhdetta suomalaisen mestariarkkitehdin Alvar Aallon suunnittelemassa Paimion parantolassa (1928–1933). Teosta pidetään Aallon uran käännekohtana ja yhtenä maailmansotien välisen moder- nismin kansainvälisesti keskeisimpänä teoksena. Eurooppalainen arkkitehtuuri koki tuolloin valtavan ideologisen muutoksen pyrkiessään vastaamaan yhä nopeammin teollis- tuvan ja kaupungistuvan yhteiskunnan haasteisiin. Aalto tuli kosketuksiin avantgardisti- arkkitehtien kanssa Congrès internationaux d’architecture moderne -järjestön piirissä vuodesta 1929 alkaen. Hän pyrki Paimion parantolassa, siihenastisen uransa haastavim- massa työssä, soveltamaan uutta näkemystään arkkitehtuurista. Työn teoreettisena näkökulmana on ranskalaisen sosiologin Bruno Latourin (1947–) aktiivisesti kehittämä toimijaverkkoteoria, joka korostaa paitsi sosiaalisten, myös materi- aalisten tekijöiden osuutta teknologisten järjestelmien muotoutumisessa. Teorian mukaan sosiaalisten ja materiaalisten toimijoiden välinen suhde ei ole yksisuuntainen, mikä huo- mio avaa kiinnostavia näkökulmia arkkitehtuuritutkimuksen kannalta. Olen ymmärtänyt arkkitehtuurin -
Press Release 29.8.2018
Press release, 29 August 2018 Facilities for new services at Finlandia Hall to be built during renovation Plans are in place for an audio-visual exhibition, design store, and a drink bar on the roof The renovation project of Finlandia Hall will begin in 2021 according to the preliminary schedule. The project means not only restoration of existing premises but also construction of a framework for new services. Plans for the renewed Finlandia Hall include, for instance, an audio-visual exhibition and a design store. The kitchen will be modernized so the restaurant can be of service during large events and conferences in the future. Restaurant operations will be developed so that people from far away arrive at Finlandia Hall for dinner. A drink bar on the rooftop terrace is planned as a main attraction. For the area around Töölönlahti Bay, there are plans for glamping-type activity that connects Finlandia Hall more closely to the surrounding park area. Finlandia Hall is the largest and best-known event and conference centre in Finland. The building’s turnover has doubled in six years, and Finlandia Hall Ltd’s operation is profitable. – Finlandia Hall is very important for Helsinki both as an architectural landmark and as a living conference centre, which enables the arrangement of diverse events in the capital city of Finland. This is why special care must be taken of the building. Every year Finlandia Hall welcomes more than 200,000 visitors. According to one study, they spend almost €50 million per year on various experiences, shopping and services in Helsinki, says Anni Sinnemäki, the Deputy Mayor for Urban Environment. -
Aalto, His Row Houses and Their Inhabitants
Working papers - Alvar Aalto Researchers’ Network March 12th – 14th 2012, Seinäjoki and Jyväskylä, Finland Aalto, his row houses and their inhabitants Rainier Hoddé Professor Researcher at the Centre de recherche sur l’habitat - Laboratoire sur l’architecture, la ville, l’urbanisme et l’environnement (CRH-LAVUE; Unité mixte de recherche n°7218 of the Centre national de la recherche scientifique) and Professor at the Ecole nationale supérieure d’architecture de Lyon (until september 2013) and de Paris la Villette (from september 2013) [email protected] Publisher Alvar Aalto Museum ISSN-L 2323-6906 ISSN 2323-6906 www.alvaraalto.fi www.alvaraaltoresearch.fi Working papers - Alvar Aalto Researchers’ Network March 12th – 14th 2012, Seinäjoki and Jyväskylä, Finland www.alvaraaltoresearch.fi 1. Introduction: from widely recognized work to largely unknown production At a time when French society is seeking a course between collective housing, or social housing estates, which it has been partially demolishing since 2003, and detached houses, whose energy insecurity has been in the spotlight since 2010, row-houses, more commonly found in northern European countries, seem a fecund compromise and Alvar Aalto’s row houses offer avenues worth exploring: - they provide architectural answers that seem promising, such as the particularly well-known one of row houses in a fan-shaped arrangement that he invented and where meet both an aesthetic and a functional need - they show how an architect who is renowned for exceptional buildings takes on minor, more modest, programs - they are easier to inquire with the residents who live in and use them in comparison with larges publics buildings, whereas enquiries protocols are more complex. -
Aalto, His Row Houses and Their Inhabitants Rainier Hoddé
Aalto, his row houses and their inhabitants Rainier Hoddé To cite this version: Rainier Hoddé. Aalto, his row houses and their inhabitants. First Alvar Aalto research conference Alvar Aalto now: New research initiatives, 2013, Seinäjoki, Finland. halshs-01631080 HAL Id: halshs-01631080 https://halshs.archives-ouvertes.fr/halshs-01631080 Submitted on 9 Nov 2017 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. Working papers - Alvar Aalto Researchers’ Network March 12th – 14th 2012, Seinäjoki and Jyväskylä, Finland Aalto, his row houses and their inhabitants Rainier Hoddé Professor Researcher at the Centre de recherche sur l’habitat - Laboratoire sur l’architecture, la ville, l’urbanisme et l’environnement (CRH-LAVUE; Unité mixte de recherche n°7218 of the Centre national de la recherche scientifique) and Professor at the Ecole nationale supérieure d’architecture de Lyon (until september 2013) and de Paris la Villette (from september 2013) [email protected] Publisher Alvar Aalto Museum ISSN-L 2323-6906 ISSN 2323-6906 www.alvaraalto.fi www.alvaraaltoresearch.fi -
Aino Marsio-Aalto (1894-1949) the Architect of Interiors and Everyday Objects to Unveil
Architectoni.ca © [2016], Copyright CCAAS Fátima Pombo et.al. , Architectoni.ca 2016, Online 4, 46-59 Aino Marsio-Aalto (1894-1949) the Architect of Interiors and Everyday Objects to Unveil Fátima Pombo1*, Pauliina Rumbin2 1Guest Professor of Department of Architecture, University of Leuven, Belgium and Member of Research Institute for Design, Media and Culture, University of Aveiro and University of Porto, Portugal E-mail: [email protected], *corresponding author. 2Engineer-Architect, University of Leuven, Belgium. Abstract Despite the remarkable success achieved during her lifetime, the Finnish architect and designer Aino Marsio- Aalto (1894-1949) is still poorly addressed in interior design history as a talent on her own and therefore independent of her husband’s praised architectural achievements. Besides the fact that both worked together in a common office and in many common projects till her death, it is not yet completed the research that will allow to acknowledge which was her participation in the corpus of work produced during the Aaltos partnership. If that endeavour will have ever a satisfactory response is also yet a doubt. Our perspective stems from the framework present in all of Aino Marsio-Aalto’s projects from which we construe a statement: based on the simplicity of forms, flawless quality of materials and practical view about dwelling Aino entices a feeling for fruition home in a soft, comfortable and natural atmosphere. With this paper we intend also to draw the attention to Aino Marsio-Aalto as an architect with a clear interest for ‘interiors’ which achievements deserve to be considered an excellent contribution to affirm the Nordic interpretation of modernism. -
Aino Aalto: “A Quietly Flowing Stream” Eva Brydson
Aino Aalto: “A quietly flowing stream” Eva Brydson Finnish designer Aino Aalto (née Marsio, 1894-1949) is often a footnote in her husband, icon of modern architecture, Alvar Aalto’s biography. An article from the Finnish Design Shop states that Aino’s “...life’s work has been easy to ignore, for example, by naming her merely the muse of her husband, Alvar Aalto.”1 This unfortunate lack of attention to Aino’s individual career discounts the significant contributions that she made to modern Scandinavian design. Collaborative work played a major role during Aino’s relatively short career (ca.1920 until her untimely death in 1949), whether with Alvar or their collaborative design firm, Artek. The early, formative years of Aino’s life and education led to her prominent contributions with Alvar and Artek. A critical inspection of Aino’s notable pieces, along with comparisons of some works that have been attributed to her, Alvar, or them both, reveal the undeniable influences between the two partners. Finally, Aino’s place in history in light of Alvar’s status as a genius of Scandinavian design analyzes the couple’s personal professional partnerships. Aino was born in 1894 in Helsinki, Finland, where she lived throughout her primary and secondary education. Aino was educated at the Helsingin Suomalainen Tyttökoulu (Helsinki Finnish Girls' School), and graduated in 1913. In 1920, at the age of 26, Aino was qualified as an architect after studying at the Helsinki University of Technology with Gustaf Nyström, 1 Kari-Otso Nevaluoma, “Aino Aalto - the strict functionalist,” Avotakka, July 28, 2018, https://www.finnishdesignshop.com/design-stories/classic/aino-aalto-the-strict-functionalist?. -
Alvar Aalto's Industrial Architecture 1929-1951
i Four Cardinalities: Alvar Aalto’s Industrial Architecture 1929-1951 Andrew Metcalf A thesis submitted for the degree of Doctor of Philosophy in Architecture University of Canberra 2019 iii Abstract This thesis examines the interwar industrial work of the renown Finnish architect and designer Alvar Aalto (1898–1976) and its significance in an interpretation of his work. Despite their number, size and importance to the Aalto corpus, the industrial buildings and their relationship with the other well-known works in his design portfolio, have received limited treatment in architectural scholarship despite their obvious relevance. Set against the historical backdrop of modern industrial architecture, this thesis examines a selection of eight different interwar Alvar Aalto industrial buildings in the context of the architect’s coeval, well-documented non-industrial work and the development of his mature architectural style. The study posits that four cardinal architectural design tropes in Aalto’s architecture are observable in the 1930s industrial works often before they were evident in his architecture more broadly. Each of these four cardinalities adds extra material to the interpretation of Aalto’s work. Another inference is that Aalto’s factory architecture is important to the general history of modern industrial architecture through its contribution to an architectural aesthetic wherein industrial buildings manifested architectural tendencies beyond the merely utilitarian. The thesis comprises five chapters which sequentially introduce and problematise the study, and then position Aalto with reference to the extant literature including his own writing. This is followed by a contextualisation of his industrial work in relation to the history of modern industrial architecture in the century from the 1830s. -
24 Villa Mairea
VILLA MAIREA 24 Alvar Aalto Scott Poole Alvar and Aino Aalto, Villa Mairea, living room with Aino Aalto and Maire Gullichsen, Noormarkku, Finland, 1939.* The Companions to the History of Architecture, Volume IV, Twentieth-Century Architecture. Edited by David Leatherbarrow and Alexander Eisenschmidt. © 2017 John Wiley & Sons, Inc. Published 2017 by John Wiley & Sons, Inc. As late as 1927, at a time when modernism was making bold advances in the centers of European culture, Alvar and Aino Aalto were designing neoclassical buildings and handcrafted furniture in an array of historical styles in Jyväskylä.1 A small city in the countryside of central Finland, Jyväskylä was far from Turku and Helsinki, the cultural centers of a country that was already on the periphery of European civilization. There was little out of the ordinary in the Aaltos’ work.2 It was com- petent, conventional in its style and appropriate for its place. Looking forward from this point in time, the prospect that a modern masterpiece would emerge from their office seemed unlikely, let alone inevitable.3 Yet, looking back from 1939, the year the Villa Mairea was completed, the trajectory seems clearer. In fact, by early 1938, Alvar Aalto’s exhibit at the Museum of Modern Art (MoMA) in New York was announced in a press release: “The Exhibition of Furniture and Architecture by Alvar Aalto presents the first American survey of the work of the Finnish architect, who is recognized as one of the most important and original modern architects and furniture designers of the past -
The Viipuri Library by Alvar Aalto, Under the Condition That Russia Also Mansikka Wrote a Report on 31.10.1996 to Minister of the Environment Pekka Haavisto
Aalto-DD 127/2018 Aalto-DD 127/2018 9HSTFMG*aiahch+ 9HSTFMG*aiahch+ ISBN 978-952-60-8072-7 BUSINESS + ISBN 978-952-60-8073-4 (pdf) ECONOMY ISSN 1799-4934 ISSN 1799-4942 (electronic) ART + DESIGN + Aalto University ARCHITECTURE School of Arts, Design and Architecture Department of Architecture SCIENCE + shop.aalto.fi TECHNOLOGY www.aalto.fi CROSSOVER DOCTORAL DISSERTATIONS The Building that Disappeared Aalto University publication series DOCTORAL DISSERTATIONS 127/2018 The Viipuri Library Aalto University School of Arts, Design and Architecture by Alvar Aalto Department of Architecture Aalto ARTS Books Espoo, Finland shop.aalto.fi © Laura Berger Graphic design: Annukka Mäkijärvi Cover photo: Military Museum / Finnish Air Forces collections Materials: Invercote Creato 300 g, Scandia 2000 Natural 115 g LAURA BERGER ISBN 978-952-60-8072-7 (printed) ISBN 978-952-60-8073-4 (pdf) ISSN 1799-4934 ISSN 1799-4942 (electronic) Unigrafia Helsinki 2018 4 5 Abstract This dissertation introduces the ‘life’ of one building: the Viipuri Library, designed tectural drawings and publications, this work aims to unravel the ‘life cycle’ of by Alvar Aalto in 1927–1935. The theoretical perspective draws from the field of the library to the present day. The structure of the thesis is thematic and approxi- material culture studies and the agency of objects. In the case of this particular mately chronological. The main body consists of four thematic chapters. The first building, the research enquires what buildings ‘do’ as part of our material envi- chapter titled ‘The City’ introduces the local context, the events behind the reali- ronment. In the context of architecture, the library has a role as an important sation of the library.