Functionalism Is a Finnish Thing

Total Page:16

File Type:pdf, Size:1020Kb

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. About one in ten people know exactly what they want from housing. They demand high quality, both in design as well as, for instance, materials. In the property market, these types of properties are called exclusive homes. Wall-to-wall carpet in the bathroom—no way! When flipping through a home decoration magazine, you easily get the impression that functionality is undergoing rapid change together with home design trends. Houses are expanding, walls are being taken down, and kitchens are being moved into a totally new place within the apartment just like that. It is even flaunted some times. Lappalainen points out that, actually, the functionality of apartments has changed very little over the years. “The functions, too, remain the same. We sleep, wash ourselves, eat and spend time at home. On the other hand, everyday chores have become easier. When a new renovation project is planned, we take into account such things as clothes maintenance and where things are kept. Bathroom facilities are also given increasing attention. Bathroom sizes have increased and they have become more inviting. New ideas are looked for from abroad. In addition to the beloved Finnish home decoration magazines and blogs, many of those interested in these things are also following the international scene. Have our tastes changed? Do we steal ideas from abroad? “In the Nordic countries, functionality has held onto its status. We are amazed by the bathrooms in the UK, for example, where you can still find wall-to- wall carpets. Common sense is reflected in interior design Where does the Finnish flair for functionalism actually come from? Why do we dread such things as wall-to-wall carpets? “We are full of common sense. Finland is a nation labelled by rationality. I see this as a strength that has positive reflections in other fields as well,” says Lappalainen. He also points out that this is unlikely to change in the future. Drastic changes will not take place in our homes in the next ten years, for example. However, housing will be increasingly divided into two segments in the future. Lappalainen thinks these divisions are already visible, but they will be emphasised in the future. “In the first segment are the apartments in which electronics play a major role in everyday life. The people living in these homes are born with an iPad in hand and they immediately adapt the ways in which the most recent technical innovations can be used to facilitate everyday life. Their apartments are, literally, networked. All electronic devices from lighting to building systems can be controlled, for example, with a mobile device. You can also control your home with your voice. “In these homes, things are easy to manage, because the residents are constantly aware of what is happening both in the home and outside. In the second segment, Lappalainen places the apartments from which everything redundant, including advanced technology, has been stripped. “Practical and simple, but not meagre, life is lived in these homes. The residents appreciate everyday life that goes smoothly, but pay special attention to high quality and eco-friendliness. Even though you could draw another kind of conclusion from the rising number of take away restaurants, we will continue to have kitchens in the future, as well as all other traditional facilities: bathrooms, storage space, bedrooms and living room areas. “In the future, we will, however, emphasise the opportunity of adapting housing to the needs of different phases of life,” Lappalainen says. Finnish Functionalism 1. Practical 2. Smart 3. Responsible 4. Precise 5. Functional 6. Unpretentious 7. Organised 8. Rational 9. Quality conscious 10. Material conscious Kari Lappalainen • Born in 1968. • Has managed his own agency since 1997 (Sisustusarkkitehtitoimisto Kari Lappalainen Oy). • The agency’s services include architecture and interior design. • Kari Lappalainen has worked as a partner of YIT in contributing to the functionality of apartments. Alvar Aalto – father of Finnish Functionalism (1898–1976) When Functionalism is mentioned, the works of architect Alvar Aalto are the first to come to mind. The first breakthrough of the style was in the 1920s. Elsewhere in Europe, the style was known as New Objectivity or Rationalism, but in Finland it was called Functionalism. The first buildings representing Functionalism in Finland were erected in Turku and designed by Alvar Aalto himself and Erik Bryggman, another pioneer of Functionalism. As a part of his Turku projects, Aalto designed a residential building in which standardised, precast concrete elements were used as early as the late 1920s. Many of Alvar Aalto’s works were industrial establishments and office facilities. One of his most renowned works is the Paimio Sanatorium, completed in the 1930s, for which Aalto’s agency also designed the interior decoration. In addition to big, impressive buildings, Aalto designed, for example, wooden houses that were built in serial production. In their design he concentrated on the resident first and foremost and wanted to design the houses to be as functional as possible. Alvar Aalto lived a flamboyant private life. He loved parties and publicity and was happy to appear as the leading light of his architecture agency. His wife, Aino, was important to him as both a spouse and a colleague. She specialised in interior design, but was also professionally involved in her husband’s design projects. YIT is a construction industry leader. We create better living environments in Finland, Russia, the Baltic countries, the Czech Republic, Slovakia and Poland. Over 100 years of experience have secured for us a strong market position: We are the largest housing developer and one of the largest business premises and infrastructure developers in Finland, and the most significant foreign housing and area developer in Russia.Our vision is to stay one step ahead – while caring for our customers, partners and personnel. We have almost 6,000 employees in seven countries. In 2014, our revenue amounted to nearly EUR 1.8 billion. Our share is listed on Nasdaq OMX Helsinki. www.yitgroup.com Contacts YIT Press Desk Press Contact For all media related inquiries please contact YIT Press Desk Mon-Fri between 9 am and 4 pm (CET+1) press(a)yit.fi +358 44 743 7536 Hanna Malmivaara Press Contact Vice President, Communications Corporate Communications hanna.malmivaara(a)yit.fi +358 40 561 6568 Sari Malka Press Contact Communications Manager Corporate Communications [email protected] +358503579901.
Recommended publications
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • Architecture and Furniture: Aalto
    Architecture and furniture: Aalto Author Museum of Modern Art (New York, N.Y.) Date 1938 Publisher [publisher not identified] Exhibition URL www.moma.org/calendar/exhibitions/1802 The Museum of Modern Art's exhibition history— from our founding in 1929 to the present—is available online. It includes exhibition catalogues, primary documents, installation views, and an index of participating artists. MoMA © 2017 The Museum of Modern Art LIBRARY THE OF MOOtftN AFtl mlmm - ARCHITECTURE AXD FURNITURE A ALTO THE MUSEUM OF MODERN ART NEW YORK PvrcXx l V-t- hMA r COPYRIGHT, MARCH, 1938, BY THE MUSEUM OF MODERN ART, NEW YORK FOREWORD Six years ago when the Museum of Modern Art opened the first exhibi tion of modern architecture in this country, attention was focused on the fundamental qualities of the new "International Style." The work of Gropius, Mies van der Rohe, Oud, Le Corbusier and others was shown to have been conceived with a basically functionalist approach, and to have been carried out with a common set of esthetic principles. Since then, modern architecture has relinquished neither the func tionalist approach nor the set of esthetic principles, but both have been modified, particularly by the younger men who have since joined the established leaders. Among these none is more important than Aalto. Like the designs of other men first active in the '30's, Aalto's work, without ceasing in any way to be modern, does not look like the modern work of the '20's. The younger men employ new materials and new methods of construction, of course, but these only partly explain the change.
    [Show full text]
  • Lacappella Cimiteriale Di 193841
    ERIK BRYGGMAN ARCHITECTURE, PHOTOGRAPHER SIMOARCHITECTURE, RISTA PHOTOGRAPHER © MUSEUM OF FINNISH FINNISH OF MUSEUM © Silvia Micheli laCappella Cimiteriale di 193841 THE CEMETERY CHAPEL IN TURKU Abitare la Terra 23/09 – PER UNA ARCHITETTURA DELLA RESPONSABILITÀ FOR AN ARCHITECTURE OF RESPONSIBILITY 35 1. Veduta interna della Cappella, aula e navatella Veduta interna della Cappella, aula e navatella 2. Veduta esterna della Cappella, portico di ingresso e campanile Veduta esterna della Cappella, portico di ingresso e campanile 3. Modello di studio della Cappella cimiteriale di ARCHITECTURE, PHOTOGRAPHER SIMOARCHITECTURE, RISTA PHOTOGRAPHER Turku Modello di studio della Cappella cimiteriale di Turku 2 FINNISH OF MUSEUM © 3 «Una parete di vetro ininterrotta nella navata laterale che si affaccia sul lato sud permette ai pini che stanno fuori di prendere parte alla forma dello spazio interno e di definire il suo tratto caratteristico [...]». Erik Bryggman «A solid glass wall in the side nave facing south allows the pine trees outside to be part of the shape of the space inside and helps to define its defining traits [...]». Erik Bryggman el 1941, quando l’edificio conosce anche una fortu- n 1941, when the new chitecture d’aujourd’hui, 2 Archi- nell’antica città fin- na internazionale, tanto da essere cemetery chapel was tectural Review3 and Metron 4. landese di Turku documentato sulle pagine delle più completed in the old The Chapel was designed by the viene ultimata la illustri riviste dell’epoca, tra le Finnish city of Turku, Finnish architect Erik William nuova Cappella ci- quali «L’Architecture d’Au- the inhabitants liked it Bryggman (1891-1955), a well- miteriale, l’edificio jourd’hui»2, «Architectural Re- so much that a few known professional from Turku N è accolto dalla po- view»3 e «Metron»4.
    [Show full text]
  • We Should Work for Simple, Good, Undecorated Things”
    archipel reisgids Finland 2014 Waar DE ZON NaUWeliJKs ONDERGAAT “We should work for simple, good, undecorated things” aNd he continues, “but things which are in harmony with the human being and organically suited to the little man in the street.” Alvar aalto, speech i N London 1957 voorwoord Archipel in Finland Woorden zijn in Finland zo belangrijk, dat zwijgen er als een deugd wordt opgevat. — Een Fins gezegde luidt: bouw eerst de sauna en dan pas het huis. VOORWOORD 1 ARCHIPEL IN FINLAND 2 Finland is een bebost land met duizenden meren. Het heeft zo’n 5 miljoen inwoners voor een oppervlakte van 338.000 km2. Ter vergelij- king, België heeft 11 miljoen inwoners voor een oppervlakte van 30.528 km2. Finland is een schaars bevolkt land, waar het landschap grotendeels door natuur- lijke bossen en meren wordt gedomineerd. Nederzettingen concentreren zich algemeen in kustgebieden en naast belangrijke meren en waterwegen. Bebouwd gebied bedekt minder dan drie procent van het land. De stedelijke gebieden zijn betrekkelijk klein, vaak met agglomeraties van minder dan 10.000 inwo- ners. Enkel tien steden hebben meer dan 50.000 inwoners. Het stedelijk gebied Helsinki met zijn miljoen inwoners is het dichtstbevolkte gebied van Finland en telt zo’n 3000 inwoners per km2. Jaarlijks worden er ongeveer 30.000 nieuwe huizen gebouwd, waarvan veel eengezinswo- ningen. De huidige regering mikt op apparte- mentencomplexen om effectiever om te gaan met de ruimte en de woningnood. Bovendien is er een uitermate boeiende stadsontwikkeling aan de gang in Helsinki: haven en industrie ver- huizen zodat de stad in nieuwe uitbreidingen terug de link legt met de kustlijn.
    [Show full text]
  • Acceptance and Conformity: Merging Modernity with Nationalism in the Stockholm Exhibition in 1930
    Acceptance and Conformity: Merging Modernity with Nationalism in the Stockholm Exhibition in 1930 By Carl Marklund & Peter Stadius Abstract This article takes a closer look at how interwar supporters of modernism sought to overcome the opposition they had to face. It does so by looking at the usage of history and Swedishness at the Stockholm Exhibition in 1930 and contrasting this experience with a brief excursus on the image of progress and Americanism as presented at the A Century of Progress International Exposition, held in Chicago in 1933–1934. The backers of both these exhibitions – functionalist architects and progressive businessmen, respectively – consciously sought to find ways in which to savor the propagandistic value of this “the shock of the new” while retaining a reassuring continuity between well-known and widespread self-identifications with “the idyll of the past.” They did so by forging “national” forms of modernity, attempting to bypass the political conflicts and ideological polarizations which characterized the interwar years. As such, it is argued, they also exemplify how the logic of the exhibition could be used for harnessing technology, science, and funkis (functionalism) as tools for re-identifying the nation with modernity and simultaneously de-politicizing modernism. Keywords: Exhibitions, modernity, modernism, anti-modernism, nationalism, functionalism, progressivism Marklund, Carl & Peter Stadius: “Acceptance and Conformity”, Culture Unbound, Volume 2, 2010: 609–634. Hosted by Linköping University Electronic Press: http://www.cultureunbound.ep.liu.se More than any other date since the industrial revolution 1930 constitutes a boundary line between old and new [in Sweden]. Göran Therborn (Therborn 1981: 25–26; Pred 1995: 97) The utility art of every age shall be a child of its time.
    [Show full text]
  • Nordic 100331-Low.Pdf
    Il viaggio come tropo della modernità: i “Nordici” spostamenti dislocamenti conoscenza e memoria Per quanto concerne la specifica tradizione nordica del viaggio di formazione, essa viene a concretizzarsi con chiarezza e struttura per la prima volta nei primi anni dell’Ottocento, con l’avvento della moda del viaggio in Italia come momento di perfezionamento della propria formazione e come momento di immersione diretta nella Storia per esperirla di persona (secondo una schietta tradizione nordica: quello dell’esperienza diretta appunto). Il tratto più originale di questa caratteristica nordica, che fa propria una tradizione di antica origine negli altri paesi europei (quella del Grand Tour appunto), consiste nella originale capacità - una volta rientrati in patria - di negoziare tra locale e internazionale; nel modo di vivere la Storia e di misurarsi e confrontarsi col Passato, quello grande, quello Collettivo. Cioè con la capacità di relazionarsi ai diversi Canoni interpretati e incarnati dalle Pompei, interior decoration opere e dai luoghi meta dei viaggi. Gustaf Dahl, 1866 Viaggi dedicati sicuramente all’esperienza diretta della Classicità ma, come testimoniano i resoconti (appunti, schizzi, foto, ecc.), anche dedicati ad interessi ben più ampi di quelli coincidenti con la classicità rinascimentale. In primo luogo, emergono dai racconti i Paesaggi (intesi come sistema complesso di Natura + Intervento antropico), poi Taormina, the Theatre Piazza Pio II Orvieto, landscape con egual interesse e attenzione la classicità Ragnar Ostberg, 1897 Hilding Ekelund, 1922 Armas Lindgren, 1902 rinascimentale e la tradizione medioevale. The Anglo-Indian writer and critic Salman Rushdie suggests that ‘newness enters the world’ through mimicry, imitation and repetition. In the repetition of a style, a language, there occurs the release of something more, of something that exceeds a previous location.
    [Show full text]
  • Westminsterresearch Nordic Visions of A
    WestminsterResearch http://www.westminster.ac.uk/westminsterresearch Nordic Visions of a Classical World (1901 – 1966) Charrington, H. This is an accepted manuscript of a book chapter published by Routledge in The Routledge Handbook on the Reception of Classical Architecture on 1 October 2019, available online: http://www.routledge.com/ 9781138047112 The WestminsterResearch online digital archive at the University of Westminster aims to make the research output of the University available to a wider audience. Copyright and Moral Rights remain with the authors and/or copyright owners. Whilst further distribution of specific materials from within this archive is forbidden, you may freely distribute the URL of WestminsterResearch: ((http://westminsterresearch.wmin.ac.uk/). In case of abuse or copyright appearing without permission e-mail [email protected] Routledge Handbook on the Reception of Classical Architecture 25. Nordic Visions of a Classical World (1901 – 1966) Harry Charrington TEXT An Emancipated Tradition Steen Eiler Rasmussen’s remark, “On the whole, art should not be explained; it must be experienced”, befits what has come to be called Nordic Classicism, and the determinedly non-doctrinaire approach of its practitioners.1 At the same time, the ambiguity inherent in this comment frustrates those critics for whom the classical world is something less mutable and more certain. Francesco dal Co berated, “…the many clichés utilized […] to explain the architecture of Aalto, […] vague and disappointing expressions, as generic as they are void of meaning: ‘northern classicism’, ‘Italy’, ‘Mediterranean’, ‘Greece’, ‘classical architecture’, ‘Renaissance palazzo’, ‘architettura minore’, ‘the holy land of Tuscany’ etc.?”2 Nordic Classicism is, arguably, just such a vague term, covering everything from the unrelenting repetitiveness of Kay Fisker’s Borups Allé flats in Copenhagen (1922–23) to the festive decorativeness of Hakon Ahlberg’s Pavilion for the Gothenburg Jubilee (1923).
    [Show full text]
  • Hapticity and Time Juhani Pallasmaa Notes on Fragile Architecture
    Hapticity and Time Juhani Pallasmaa Notes on fragile architecture Materials and surfaces have a richly complex language of their own that evolves and changes over time. In this major essay, Juhani Pallasmaa puts the case for haptic, sensuous architecture. Modern consciousness and sensory reality have gradually developed towards the unrivalled dominance of the sense of vision. This thought-provoking development has been observed and analyzed by a number of philosophers in recent years. [1] David Michael Levin, one of today's thinkers concerned with the hegemony of vision, motivates the philosophical critique of the visual bias in the following words: 'I think it is appropriate to challenge the hegemony of vision in the ocularcentrism of our culture. And I think we need to examine very critically the character of vision that predominates today in our world. We urgently need a diagnosis of the psychosocial pathology of everyday seeing -- and a critical understanding of ourselves, as visionary beings'. [2] I believe likewise that many aspects of the pathology of today's architecture can also be understood through a critique of the ocular bias of our culture. As a consequence of the power of the eye over the other sensory realms, architecture has turned into an art form of instant visual image. Instead of creating existential microcosms, embodied representations of the world, architecture projects retinal images for the purpose of immediate persuasion. Flatness of surfaces and materials, uniformity of illumination, as well as the elimination of micro-climatic differences, further reinforce the tiresome and soporific uniformity of experience. All in all, the tendency of technological culture to standardize environmental conditions and make the environment entirely predictable is causing a serious sensory impoverishment.
    [Show full text]
  • Turku on Fire
    ”All of the participants of this project affect the contents and the events of Turku 2011. Symbolically this happens through contact – touching creates personal illustrations. Everyone handling this application illustrates the covers of the book differently: what happens to the covers of the book comes from me, I can have and impact on what Turku will be like as the Capital of Culture in 2011.” Ilmo Valtonen, the designer of the layout of the book Turku on Fire The Application of the City of Turku for the European Capital of Culture 2011 www.turku2011.fi Turku Established in 1229, the oldest city and former capital of Finland 175 000 inhabitants, the centre of the 3rd largest urban region in the country A bilingual city (Finnish, Swedish) with 113 different nationalities Altogether 35 000 students at three universities and four polytechnics History of over 30 urban fires, The Great Fire in 1827 Nationally significant medieval landmarks include the Turku Castle and the Turku Cathedral The River Aura running through the city The Turku Archipelago consists of 20 000 islands with 20 000 inhabitants Turku The highest temperature in 2005 +30°C, the lowest -22°C Tallinn The city in which the world’s largest passenger cruisers are created The host of the oldest open-air rock festival in Europe, Ruisrock The candidate for the European Capital of Culture 2011 together with Tallinn, Estonia Editors: Niina Helander, Suvi Innilä, Mari Jokinen, Jukka Talve Revision of the Finnish text: Joni Pyysalo Translation and editing: Laura Kopu Main photographies and photo collages: Heli Konttinen, Harri Pälviranta, Markku Lappalainen.
    [Show full text]
  • Gustaf Strengell and Nordic Modernism* Kimmo Sarje
    Gustaf Strengell and Nordic Modernism* Kimmo Sarje Suffice is to say that his personal influence extended far into the North; in Finland it was particularly notable thanks to Sigurd Frosterus. We may credit the influence of van de Velde’s personality for the tremendously healthy, intel- lectual influence for that Frosterus and Gustaf Strengell had on Finnish archi- tecture. Alvar Aalto, 19571 In her inspiring book National Romanticism and Modern Architecture (2000) Barbara Miller Lane studies the development of modern architec- ture in Germany and Scandinavia as growth from National Romanticism to Modernism.2 She has good arguments to underline this kind of organic change, but there are also serious reasons to see the development in a more complex light. The role of rationalism of the turn of century as rep- resented by Gustaf Strengell and Sigurd Frosterus had a crucial effect on developments especially in Finland.3 I start with a broader introduction to Strengell’s work as architect, critic and writer to tell a different kind of narrative about Nordic Modernism, and finally to make some critical notes about Barbara Miller Lane’s inter- pretation in the end of my essay. Writing in Swedish, Strengell’s influ- ence was not limited to Finland, but instead he also had a Scandinavian audience. As a recent echo of the past, in her academic thesis Catharina Gabrielsson, a Swedish architect and critic, has paid positive attention to Strengell’s work.4 Art nouveau: Rationalism of the early 20th century Gustaf Strengell’s life’s work is a rich, though currently not so well known, chapter of the Modern Movement in Finland and Scandinavia.
    [Show full text]