The Standard

Number 3

Alvar Aalto’s Hand Grenade and four other highlights from Artek Standards and Systems

Alvar Aalto’s bent birch “L-leg” is the standardised yet versatile basis of many Artek furniture designs.

In 1929, Alvar Aalto began designing Soon after the 1933 debut of Stool 60, standardised furniture for production. the first L-leg product, Artek began The rise of modernism around the manufacturing the legs in four sizes, world and the advent of industrial enabling the development of more than manufacturing in made this 50 different products, from seating and the perfect moment for Aalto to test tables to storage furniture. his belief that architecture and design were important players in a robust Aalto believed that standardisation culture and economy. in furniture design shouldn’t prevent variety. Inspired in all his designs, Through the late 1920s, Aalto including the L-leg, by the forms of the experimented with wood-bending, natural world, he called this concept collaborating with the furniture “flexible standardisation.” In his own manufacturer Otto Korhonen and words: developing what became known as the “L-leg,” a solid birch piece bent to a “I once claimed that nature is the 90-degree angle. Aalto called it “the best standardising committee in the little sister of the architectural column” world. But in nature, standardisation since it, too, supported horizontal is applied almost exclusively to the surfaces — table tops or stool and chair smallest units possible — cells. The effect seats, for example. Patented in 1933, it is millions of varying combinations, formed the basis of a versatile system of which will never become schematic. standard components that became the Another consequence is the endless foundation of Artek’s furniture designs. richness of nature and the constant exchange of the organic within For decades, the L-leg was bent the organic growing formations. by hand; starting in the 1960s, Standardisation within architecture high-pressure bending took over. should take a similar path.”

Alvar Aalto’s Stool 60 in the light-filled drawing office of the Aalto Studio in Helsinki, designed by the architect in 1955. 3 Stool 60, Bench 153B, and Chair 66, shown here in white lacquered birch, illustrate the versatility of the bent-wood L-leg in Aalto’s furniture designs for Artek. 5 The Rival Chair by Konstantin Grcic

The wooden chair is re-imagined in structure and function to make it equally comfortable at home, at work, or out to dinner.

The Rival Chair, Konstantin Grcic’s first first swivel chair. Exemplifying Grcic’s collaboration with Artek, addresses fascination with technology and the disappearing boundaries in materials, its innovative aluminium today’s world between work and “knot” mechanism is located under the life, public and private. While deeply upholstered seat cushion, inside the rooted in Artek traditions, Rival — the injection-moulded polypropylene seat name is meant to signify confidence shell. Grcic is also interested in the rather than competition — sheds new history and human aspect of design; light on the idea of a wooden chair. the Rival, accordingly, doesn’t look The legs are milled from a single like a conventional office chair. With piece of solid birch, giving them a the look more of dining chair than fluid quality more like that of moulded a task chair, it works equally well at plastic than wood, while the back a desk, at the dinner table, or in a and armrests are made of laminated restaurant. saw-cut birch. True to Alvar Aalto’s construction principles, the design As Grcic put it, “The Rival stands articulates the chair’s individual astride the strong history of Artek and elements, while the backrest is joined Alvar Aalto. It doesn’t hold back, but directly to the seat shell. proudly says, ‘This is how we make furniture today.’” At the same time, Rival breaks new ground for Artek as the company’s

The graceful lines of the Rival Chair, designed by Konstantin Grcic, allow the solid and laminated birch chair to swivel effortlessly from office to dining table. 7 Alvar Aalto’s Pendant Light A110

For Alvar Aalto, a light was never just a light. After more than six decades, the Hand Grenade shines in three new colours revived from the archives.

An integral component of Alvar in his Helsinki studio devoted Aalto’s architecture, interiors, and exclusively to his experiments with furnishings, lighting was an expression lighting. of his humanist philosophy, of the idea that even artificial light — The pendant light A110 — also known particularly in Finland, with its long, as the Hand Grenade because of its dark winters — brings people closer shape — was designed for the Finnish together and can provide therapeutic Association of Engineers in 1952 and benefits. also used in the Council Chamber of the Säynätsalo Town Hall. In this and In addition to the psychological and other lighting designs, Aalto added a optical aspects of light fixtures, Aalto perforated, polished brass-plated ring also focused on their sculptural and at the bottom of the fixture’s shade to sensual qualities: a light, he believed, diffuse light and thus reduce glare. should look beautiful whether it was Artek is re-introducing three colours on or off. from its archives for the A110 — dark green, midnight blue, and red — to His lighting designs, accordingly, accompany the existing white and are as lyrical as they are precise. black versions. In 1955, Aalto even created a space The polished, brass-plated ring on Aalto’s pendant light A110, better known as the Hand Grenade, diffuses light to minimise glare, exemplifying the architect’s 8 human-centred approach to lighting, buildings, and interiors. Alvar Aalto’s “Organic Line”

The Finnish master’s human-centred design ethos revolutionised architecture and gave form to Artek and its products.

Alvar Aalto (1898-1976) was one of designed for Maire Gullichsen — one the most important architects of the of the founders of Artek — and her twentieth century. His ‘organic line,’ the husband, Harry. hallmark of the humanistic modernism that characterised his buildings, For Aalto, architecture and furniture furniture, and glass objects, still were equal players in a synergistic contributes today to the international relationship. His first modern furniture influence of Nordic design. designs, produced in 1931-1932 for the Paimio Sanatorium, brought widespread Aalto once said that the architect’s acclaim, and his iconic furniture ultimate goal is “to create a paradise,” pieces in bentwood — the classic Stool whether in a house or a factory. 60, for example — assured his place His buildings are known for their in twentieth century design history. dynamic relationship with nature, Since its founding in 1935, Artek has for their human scale, warm and promoted the worldwide distribution sensual materials, meticulous details, of furniture, lighting, and textiles and ingenious use of lighting. Aalto by Alvar and Aino Aalto. Ground designed over 200 buildings, from breaking when they first appeared on town halls and churches to social the market, the Aaltos’ products reflect housing and private residences. His forward-looking ideas regarding mass best-known projects include the Paimio production, standardisation, and new Sanatorium, the library in Vyborg, manufacturing techniques and still form and the , the house he the basis of the Artek range today.

Alvar Aalto in his office in 1945. At the time, the office was located in his Helsinki home, a building that he and his first wife, Aino Aalto, completed in 1936. 11 Aalto’s pioneering methods of bending wood paved the way for designs like The Floor Light A810 is a variation on Aalto’s A809 model; both appear in his the Tea Trolley 901. Villa Kokkonen of 1967-1969. Artek’s Textiles and Patterns

For Aino and Alvar Aalto, fabrics were an integral element of domestic life and played a crucial role in Artek’s design philosophy from its earliest days to the present.

From the beginning, textiles were It was likely inspired by a zebra- integral to Artek’s belief that beauty patterned textile that Aino Aalto should be a part of everyday life. At bought from the Zurich design first, the company didn’t have its own emporium Wohnbedarf in 1935. in-house line of textiles. Yet from the By 1940, Artek was commissioning very start, Aino Aalto (1894-1949) fabrics from external designers like — architect, designer and Artek co- Kaj Franck, whose Putkinotko and founder — scoured Europe looking for Sitruuna patterns were among Artek’s unusual fabrics and Moroccan rugs best-selling textiles of that decade. to use for the company’s products. The patterns she found gave Artek’s 1954 witnessed the arrival of another furnishings and interiors the exotic iconic Artek fabric, the graphic, richness that set the company apart geometric Siena, named for the from its competitors and drew architecture of the Italian city so international attention. beloved by Alvar Aalto, the fabric’s designer. Today, Siena continues to One of the earliest and still most enliven multiple aspects of everyday famous of these textiles is Zebra, life in the form of home accessories like characterised by a soft, sensual cushion covers, trays, and tea towels in texture and striking visual depth. Artek’s abc Collection.

Artek’s Zebra fabric embodies the Aaltos’ conviction that design should add richness to everyday life. 15 The Zebra fabric is probably most closely identified with Aalto’s Armchair 400, A later but no less iconic Artek textile is Siena, designed by Aalto in 1954 and also known as the Tank chair due to its wide laminated birch arms. named for the architecture of the Italian city he loved to visit. Notes product surfaces and colours Alvar and Aino Aalto designed Restaurant (1937) and the Villa Colophon can be customised even for small the sanatorium’s furniture and Mairea (1939). She also pursued projects. This combination of interiors to be beautiful as well independent projects, including standardisation and variety ensures as functional in order to enhance the design of exhibitions, furniture, that Artek’s furniture transcends patients’ wellbeing. and glass, which were awarded Helsinki — Head Office social identities and functional prizes at the Milan Triennale. Aino Artek oy ab categories, moving naturally Aalto was Artek’s Design Director Lönnrotinkatu 7 between residential and work from 1935 and also its Managing 00120 Helsinki settings — one source of its timeless Director from 1942 until her Finland appeal. untimely death. Berlin — International Office Artek GmbH Potsdamer Straße 85 10785 Berlin Germany 1. Stool 60 [email protected] Alvar Aalto’s Stool 60, designed in 1933, embodies the essence of 7. Library in Vyborg Artek on Facebook @artekglobal functionalist design. The L-shaped, 5. Säynätsalo Town Hall Aalto’s Vyborg Municipal Library Artek on Instagram @artekglobal bent solid birch legs are mounted Completed in1952, the Säynätsalo in Russia (formerly Viipuri, Artek on Twitter @artek_global directly to the underside of the Town Hall is among Alvar Aalto’s Finland) is one of the masterpieces round seat, eliminating the need most significant works and holds of modernist architecture. It was The products in the brochure are for complicated connecting 3. Office Chair a special place in the history of here that Aalto tested design selectively available from our elements and allowing the stool Konstantin Grcic’s Rival chairs, in twentieth century architecture. solutions like the sunken reading retailers. Find out more: to be stacked in a spiralling tower the offices of the Tokyo advertising The castle-like red brick cluster of well, free-flowing ceilings, and www.artek.fi/contacts/distribution to save space. Over the years, agency Plus D. buildings includes administrative cylindrical skylights that would 9. Moroccan Rugs the stool has been produced in offices, a council chamber, and appear regularly in his later Moroccan rugs have played an Art Direction: Something Fantastic numerous wood stains, lacquers, library, as well as apartments projects. It was also at the Vyborg important role at Artek since Texts: Pilar Viladas and upholstery fabrics. Since and commercial spaces. A raised Library that Aalto employed a the beginning. They were the Copyediting: Jenna Krumminga its introduction in 1933, several courtyard offers views onto the furnishing system based on the focal point of the company’s first Special Thanks: Sanna Teräsvirta million units of Stool 60 (and its surrounding landscape, and the standard component of the bent- exhibition at its store in Helsinki four-legged sibling, Stool E60) buildings’ varied roof shapes allow wood L-leg. in October 1936, and they’ve Image Credits have been sold, making it one of the complex to blend in with its consistently appeared in the P. 10: Kolmio the most cherished classics in the wooded environs on Säynätsalo Artek shop ever since. Interiors All other images by Zara Pfeifer history of design. Island near the town of Jyväskylä, designed by the Aalto office — like, Finland, where Aalto opened his for example, those at the Villa Image Credits Notes first office in 1923. Mairea — have also often featured 1. Tuomas Uusheimo Moroccan rugs. According to 2. Schaepman & Habets Aino’s travel journals and sketches, 3. Nacasa & Partners Inc. she first discovered the rugs in 4.-5. Alvar Aalto Museum April 1935 when she and Aalto 6.-9. Artek archive were travelling through Holland, Switzerland, and Germany. There, Further information and she explored forward-thinking more products at: 4. Helsinki Studio stores like Amsterdam’s Metz & artek.fi Lighting, both artificial and Co. and Zurich’s Wohnbedarf, the natural, was an important aspect pioneering design retailer that long 10/2016 2. “Flexible Standardisation” of Alvar Aalto’s architecture. He 8. Aino Aalto served as an inspiration for Artek. The Aalto collection is based even designed a space devoted The architect Aino Aalto, née on the architect’s concept specifically to lighting experiments 6. Paimio Sanatorium Marsio (1894-1949) was a of standardised individual at his studio in Helsinki, built The Paimio Sanatorium is co-founder of Artek and close components that can be easily in 1955. The space featured a considered Aalto’s most significant collaborator of Alvar Aalto for combined and coordinated balcony where an assistant could early building; it established his 25 years. Together, they managed to create an extensive system hold lamps at different heights so international reputation as an his architectural practice as of tables, chairs, and stools. that Aalto could see their effects — architect and designer and was the equals, with Aino responsible for Product formats like table sizes a kind of experimentation that was catalyst for his uniquely humanist some of the office’s most famous and heights are flexible, while typical for the architect. interpretation of modernism. interiors, including the Savoy

18 19 Artek was founded in 1935 in Helsinki by the young idealists Alvar and Aino Aalto, Maire Gullichsen, and Nils-Gustav Hahl “to sell furniture and promote a modern culture of living by exhibitions and other educational means.” Today, the Artek collection of furniture, lighting, and accessories designed by Finnish masters and leading international designers comprises objects that are extraordinary in their clarity, functionality, and poetic simplicity. In the radical spirit of its founders, Artek remains one of the most innovative contributors to modern design, breaking new ground at the intersection of design, architecture, and art. artek.fi