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Aino Marsio-Aalto (1894-1949) the Architect of Interiors and Everyday Objects to Unveil

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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. Our case study is the Aaltos’ own house in Munkkiniemi and Villa Mairea without ignoring her significant role in Artek and in other projects conceived throughout her lifetime, once all her activities worked together to the same purpose. Keywords: interior architecture, interpretation of modernism, dwelling, product design, furniture. 1.Introduction Alvar Aalto (1898-1976) and his work have been well documented, whereas his wife, Aino Aalto (1894-1949) has little received recognition for her independent work as architect and designer. As early as the 1920’s but mostly during the 1930’s and 1940’s, Aino participated in the architectural projects of the office she shared with her husband. Besides her participation in the architectural design of private houses, apartment complexes or other building projects, she developed a deep interest in interiors and furniture design, which then became her specialty in the Aaltos’ collaboration. Although Aino Marsio Aalto [1] has been partially acknowledged as her husband’s collaborator, there are few studies identifying her participation in his work, let alone her original and individual realizations. However, due to the contribution of mainly Finnish researchers, Aino Aalto is slowly emerging from the shadows and becoming acknowledged as a fascinating architect and designer with importance particularly in the realm of interiors. Renja Suominen-Kokkonen, one of the academics researching and writing about Aino Aalto, believes that it is still very difficult to always specify without doubts the part of Aino in the projects of their office [2]. In effect, regarding the literature review about Aino Aalto, Renja Suominen-Kokkonen stands out as the researcher who wrote more in detail about the Finnish architect [3]. Suominen-Kokkonen notes that the travel diaries of Aino Aalto are important research material to assure that Aino ‘had a significant position in Finnish industrial art and interior design, and cannot be ignored, although she was never placed at the same level as her husband’ [4]. Aino used travel diaries not as notebooks for personal thoughts but as a working tool for professional notes, addresses, sketches and drawings of what she was encountering during the trips that could inspire her or serve as reserve of useful information for the projects in the office. So, the Finn travel diaries, owned by the family with copies in Artek archives, were to Suominen-Kokkonen an excellent resource for information about Aino’s interest in materials, fabrics, patterns, furniture details, structures, technical issues or professional contacts. In the only monograph dedicated to Aino Aalto [5] are five chapters focusing in diverse aspects of her life, personality and creative work, namely ‘On Aino Marsio-Aalto’ by Arne Heporauta; ‘Aino Marsio-Aalto, architect’ by Mia Hipeli, ‘Aino Marsio-Aalto, Interior and Furniture Designer’ by Kaarina Mikonranta, ‘Aino Aalto as Photographer’ by 46 http://ccaasmag.org/ARCH Architectoni.ca © [2016], Copyright CCAAS Fátima Pombo et.al. , Architectoni.ca 2016, Online 4, 46-59 Marjaana Launonen and ‘The Silent Central Personage, the Architect Aino Marsio-Aalto’ by Renja Suominen- Kokkonen. To build up the profile of Aino as an architect of interiors and everyday objects, the authors rely upon the abovementioned references, sparse information spread in literature (see the list of bibliography), author talks with Renja Suominen-Kokkonen, Tiina Laihomäki, Juhani Pallasmaa, Jaakko Kontio, and the authors’ visits to Viipuri Library, the Aaltos’ house in Munkkiniemi and Villa Mairea. This article intends to contribute to shed light on Aino Aalto as a talented designer in the international arena. As an architect and designer aware of the modern rhetoric, she designed modern dwelling interiors and everyday objects contributing to the Nordic interpretation of modernism as the text aims further to state. She designed buildings, furniture, textiles, fabrics, glassware, ceramics, and lighting fixtures, looking for the harmony between the spaces, the objects and the users. This text focus mainly on two examples of her achievements, the Aaltos’ own house in Munkkiniemi and Villa Mairea. It also calls attention to her significant role in Artek and in other projects conceived throughout her lifetime. Aino Marsio-Aalto was a creative architect on its own merits and the history of interior design owes her rightful place. 2.Aino out of the shadow Arne Heporauta [6] pointed out that Aino’s decision of the profession of architect was at that time unusual because it was very much a male field. Female architects in Finland in the 1930’s were unusual, indeed. Yet the amount of female architects in Finland was more numerous compared to other countries at the time, asserts Suominen- Kokkonen who also provide evidence that by the end of the 19th century six women had graduated as architects and in the early 1900s the amount started to grow [7]. After Aino’s graduation from the University of Technology in Helsinki in 1920, she started to work in the office of Oiva Kallio in Helsinki. Still during her studies at the university she travelled to Europe with her study mates Aili-Salli Ahde (1892-1979) and Elli Ruuth (1893-1975). They went to Germany, Switzerland and Italy and visiting there different cities like Venice, Ravenna, Siena, Firenze and Rome. These trips opened her horizons, challenged her knowledge about architecture, and influenced her interest to keep travelling abroad during her life. In 1923 she was offered a job at the office of Gunnar A. Wahlroos in Jyväskylä, the same town where Alvar Aalto opened his architectural office in the same year. Some months after starting in Wahlroos’ office, Aino accepted work from Aalto, whom she already knew from the university in Helsinki but for whom she never had great sympathy, considering him ‘arrogant and [a] snob’ [8]. Aino was 4 years older than Alvar, had graduated earlier and gained relevant experience in her internships and previous jobs, but she did not have neither the financial possibilities nor the social connections to start her own office. After working together only for a few months, Alvar Aalto proposed to Aino Marsio. They married in the autumn of 1924. The first trip of the Aaltos together was the honeymoon to Italy, which ended up becoming the most important destination for Alvar Aalto. Some other trips followed in the 1920’s and 1930’s and became an important influence to their architectural work. Their first child was born in 1925, and the second in 1927. Aino Marsio-Aalto had to find balance between her career, marriage and motherhood. About that, she said in a late 1920s radio interview, “While our children were small, I temporarily withdrew from the office. But while the children grew older, I continued my career normally” [9]. In effect, in late 1930’s and early 1940’s Alvar Aalto was engaged in lecturing in the United States of America or in architectural assignments abroad and Aino was in charge to run the office alone which meant taking care of the office’s client relationships, employee matters and financial issues. Jaakko Kontio states that it was known that ‘Aino was responsible for all the work at the office when Alvar Aalto was traveling abroad and sometimes the trips kept him long periods away of home. Without Aino, the office would not have survived’ [10]. In 1946 Aino was diagnosed with cancer. Despite her sickness she relentlessly continued her work with Artek and still travelled in 1947 to the first CIAM conference after the WWII in Switzerland. Hipeli pointed out that by the end of 1948, just a few months before her death, Aino had to admit that she was not able to work anymore [11]. So, it seems logic to ask why has been Aino Aalto stayed in the shadow of her husband? Besides general reasons regarding the professional position of female architects in society at Aino’s time, Renja Suominen-Kokkonen [12] provided two other reasons. On one hand the early death of Aino Aalto in 1949 made it more complicated to assess her part in the collaboration once till the death of Alvar Aalto the office remained known under his name. Beatriz Colomina in her article ‘Couplings’[13] underlines the fact that in a collaborative work like architecture even if it is recognized as a field of team work, usually ‘a single figure is always privileged as author of the work.
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