The Villa Mairea
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Alvar Aalto's Masterpiece – Villa Mairea a DVD Film
PRESS RELEASE Free use Alvar Aalto’s Masterpiece – Villa Mairea a DVD Film Alvar Aalto’s Masterpiece – Villa Mairea is a sensitive documentary film written, filmed and directed by Rax Rinnekangas. Villa Mairea was the home of Maire and Harry Gullichsen, designed by Alvar Aalto and built in Noormarkku, the Ahlström ironworks estate in 1939. The narration for the film has been written by architect Juhani Pallasmaa, who is also the film’s narrator. He leads the viewer through the rooms of Villa Mairea, and helps in understanding the different levels of Aalto’s philosophy as well as the building itself, a building which has become one of the icons of modern architecture. The booklet accompanying the film includes two articles. In the first, architect Kristian Gullichsen writes about the ideal home to which he moved in 1939 when he was seven years old. The house has since become an uninhabited monument. At times, however, Villa Mairea awakes to the life of a family, the games and laughter of children or as a discussion forum and meeting place for international artists and architects. In the second article Juhani Pallasmaa delves deep into the philosophy of the house. Rax Rinnekangas is a director, photographer and author. He has published over 20 books: novels, short stories, essays and photography books. He has held over 40 private exhibitions in Finland and around the world and has received several awards. His central theme is man and the memory of the past. In his documentary Alvar Aalto’s Masterpiece – Villa Mairea the importance of light as one particular visual element is also strongly present. -
Six Canonical Projects by Rem Koolhaas
5 Six Canonical Projects by Rem Koolhaas has been part of the international avant-garde since the nineteen-seventies and has been named the Pritzker Rem Koolhaas Architecture Prize for the year 2000. This book, which builds on six canonical projects, traces the discursive practice analyse behind the design methods used by Koolhaas and his office + OMA. It uncovers recurring key themes—such as wall, void, tur montage, trajectory, infrastructure, and shape—that have tek structured this design discourse over the span of Koolhaas’s Essays on the History of Ideas oeuvre. The book moves beyond the six core pieces, as well: It explores how these identified thematic design principles archi manifest in other works by Koolhaas as both practical re- Ingrid Böck applications and further elaborations. In addition to Koolhaas’s individual genius, these textual and material layers are accounted for shaping the very context of his work’s relevance. By comparing the design principles with relevant concepts from the architectural Zeitgeist in which OMA has operated, the study moves beyond its specific subject—Rem Koolhaas—and provides novel insight into the broader history of architectural ideas. Ingrid Böck is a researcher at the Institute of Architectural Theory, Art History and Cultural Studies at the Graz Ingrid Böck University of Technology, Austria. “Despite the prominence and notoriety of Rem Koolhaas … there is not a single piece of scholarly writing coming close to the … length, to the intensity, or to the methodological rigor found in the manuscript -
Architecture Program Report for 2012 NAAB Visit for Continuing Accreditation
Harvard Graduate School of Design Department of Architecture Architecture Program Report for 2012 NAAB Visit for Continuing Accreditation Master of Architecture Undergraduate degree outside of Architecture + 105 graduate credit hours Related pre-professional degree + 75 graduate credit hours Year of the Previous Visit: 2006 Current Term of Accreditation: At the July 2006 meeting of the National Architectural Accrediting Board (NAAB), the board reviewed the Visiting Team Report for the Harvard University Department of Architecture. As a result, the professional architecture program: Master of Architecture was formally granted a six-year term of accreditation. The accreditation term is effective January 1, 2006. The program is scheduled for its next accreditation visit in 2012. Submitted to: The National Architectural Accrediting Board Date: 14 September 2011 Harvard Graduate School of Design Architecture Program Report September 2011 Program Administrator: Jen Swartout Phone: 617.496.1234 Email: [email protected] Chief administrator for the academic unit in which the program is located (e.g., dean or department chair): Preston Scott Cohen, Chair, Department of Architecture Phone: 617.496.5826 Email: [email protected] Chief Academic Officer of the Institution: Mohsen Mostafavi, Dean Phone: 617.495.4364 Email: [email protected] President of the Institution: Drew Faust Phone: 617.495.1502 Email: [email protected] Individual submitting the Architecture Program Report: Mark Mulligan, Director, Master in Architecture Degree Program Adjunct Associate Professor of Architecture Phone: 617.496.4412 Email: [email protected] Name of individual to whom questions should be directed: Jen Swartout, Program Coordinator Phone: 617.496.1234 Email: [email protected] 2 Harvard Graduate School of Design Architecture Program Report September 2011 Table of Contents Section Page Part One. -
Lecture 22 Alvar Aalto and the Nordic Tradition
5/18/16 Lecture 22! ! ! ! ! ! ! ! ! ! Alvar Aalto and the Nordic Tradition Alvar Aalto 1898-1975 *Eliel Saarinen Hvitträsk *Eliel Saarinen Luomo, Finland, 1903 Hvitträsk Luomo, Finland, 1903 *Eliel Saarinen, Hvitträsk, Luomo, Finland, 1903 *Asplund, Stockholm Public Library, Stockholm, 1920-28 Erik Gunnar Asplund (1885-1940), *Stockholm Public Library, Stockholm, Sweden, 1920-28 *Eliel Saarinen, Hvitträsk, Luomo, Finland, 1903 1 5/18/16 *Asplund, Stockholm Public Library, Stockholm, 1920-28 *Asplund, Stockholm Public Library, 1920-28 *Asplund, Stockholm Public Library, 1920-28 Boullee, National Library project Stockholm Public Library *Asplund, Stockholm Public Library, 1920-28 Aalto, Civil Guard Buildings: Stables, Seinajoki, Finland, 1924-26 Alvar Aalto (1898-1975) Aalto, Villa Vekara Karstula, Finland, 1924 Turun Sanomat News, Turku, Finland, 1928 Aalto, House for Terho Manner, Töyszä, Finland, 1923 2 5/18/16 * Alvar Aalto, * Alvar Aalto, Library, Library, Viipuri, Viipuri, Finland, 1927-35 * Alvar Aalto, Library, Viipuri, Finland, 1927-35 Finland, 1927-35 * Alvar Aalto, Library, Viipuri, Finland, 1927-35 * Alvar Aalto, Library, * Alvar Aalto, Library, Viipuri, Finland, 1927-35 Viipuri, Finland, 1927-35 * Alvar Aalto, (Tuberculosis) Sanitorium, Paimio, Finland, 1928-33 *(Tuberculosis) Sanitorium, Paimio, Finland *Alvar Aalto, (Tuberculosis) Sanitorium, Paimio, Finland 3 5/18/16 * Alvar Aalto, (Tuberculosis) Sanitorium, Paimio, Finland, 1928-33 *Alvar Aalto, (Tuberculosis) Sanitorium, Paimio, Finland Alvar Aalto, three-legged stacking -
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. -
Performative Architecture Design Strategies for Living Bodies
Performative Architecture Design Strategies for Living Bodies Sam Spurr A thesis submitted in fulfilment of the requirements of the degree of Doctor of Philosophy School of English, Media and Performance Arts University of New South Wales 2007 i Originality Statement ‘I hereby declare that this submission is my own work and to the best of my knowledge it contains no materials previously published or written by another person, or substantial proportions of material which have been accepted for the award of any other degree or diploma at UNSW or any other educational institution, except where due acknowledgement is made in the thesis. Any contribution made to the research by others, with whom I have worked at UNSW or elsewhere, is explicitly acknowledged in the thesis. I also declare that the intellectual content of this thesis is the product of my own work, except to the extent that assistance from others in the project's design and conception or in style, presentation and linguistic expression is acknowledged.’ Signed …………………………………………….............. Date …………………10.01.2008………………………….................. ii Acknowledgements Sincere thanks must go to my supervisors James Donald and Ed Scheer. I am particularly grateful to Ed, where in amongst the caffeined conversations have been your continual reassurance, dedication and inspiration to this changing project throughout the years. I am very grateful to the Deutscher Akademischer Austauch Dienst for the opportunity to live and research several aspects of this thesis in Berlin. I would also like to thank Erika Fisher-Lichte and the Sonderforschungsbereich Kulteren des Performativen Research group at the Free University in Berlin, for their support and welcoming into an inspirational place of research. -
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?. -
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 -
Reason Might Be a Place. Critical Regionalism and Architectural Autonomy As Examples of Architectural Theory Building on Political Philosophy
DISSERTATION Reason might be a place. Critical regionalism and architectural autonomy as examples of architectural theory building on political philosophy ausgeführt zum Zwecke der Erlangung des akademischen Grades eines Doktors der technischen Wissenschaften unter der Leitung von Ao. Univ. Prof. Dipl-Ing. Dr.-Ing. Dörte Kuhlmann E 259/4, Institut für Architekturwissenschaften eingereicht an der Technischen Universität Wien Fakultät für Architektur und Raumplanung Dipl. Ing. Mathias Mitteregger 0010342 A-1020 Wien, Vorgartenstraße 154/12 Wien, …………………… …………………… 1 2 Für Nika 3 4 REASON MIGHT BE A PLACE Critical regionalism and architectural autonomy as examples of architectural theory building on political philosophy - A city comes into being because it so happens that each of us is not self-sufficient, but we are in need of many things; or do you think that any other principle establishes the city? - Not at all. - Thus when someone takes on one person for one service and another for another, since we are in need of many things, many people gather together in one place to live as partners and helpers. When one person shares with another, if he shares, or takes from the other, he believes it to be better for himself.1 5 6 DANKSAGUNG Es erscheint mir unmöglich eine Dissertation fertigzustellen, ohne jene umfassende Unterstützung zu erfahren, von der ich während meiner ganzen Irrwegen profitieren durfte. Dementsprechend danke ich allen, die mich begleitet haben mit akademischem Rat und freundschaftlicher Geduld. Meine Freunde und Familie waren immer ein sicheres Netz, das ich jedem Menschen nur wünschen kann. Ich bin unendlich dankbar für ein solches Umfeld. -
Alvar Aalto's Villa Mairea
figure 1 of Soul and sanctuary alvar aalto’s villa mairea jessica cullen fall 2009 figure 2 space space Eminent Finnish architect and fa- In spite of the fact that he em- ther of “Nordic Modernism”, Alvar Aal- braces the subversion of standard Mod- to’s “radical compositional technique” is ernist practice, the cumulative result of the pictorial collage, and no Aalto design his freedom-finding in form and space demonstrates this practice more com- is ultimately “decentering space... pletely than Maire and Harry Gullichsen’s [and] articulating new, non-hierarchical Villa Mairea. Not only does this approach compositions” (Weston,75) in the Villa epitomize his career-defining pursuit of Mairea, is consistent with Martin Heide- an architecture that is at once intrinsically gger’s discussion of the fundamental democratic, existing in service to human- project of existence: “being, dwell- ity, pleasing, playful, and above all rep- ing and thinking.” (Heiddegger,345). resentative of pluralist sensitivities, but through it he translates this abstraction to The villa’s repeated “L” shape the visceral realm; to the intimate experi- nests in its core the dining room; the life- ence of space created by this philosophy. place of the Finnish home. It is the space Aalto’s Villa Mairea is as much of “seasonal, religious, national or familial emblematic of Modernism as it is not. shared meals” (Herdeg,25), and acts as The collage techniques Aalto applies the locus of activity and main connection result in the articulation of space that to other spaces. Through the connections defies uniformity dictated by standard which spring forth from this centre, the development in which distinctions be- Modernist practice. -
The Good Wife: Lina Loos, Adolf Loos and the Making of an Idea
DISSERTATION The good wife: Lina Loos, Adolf Loos and the Making of an Idea ausgeführt zum Zwecke der Erlangung des akademischen Grades einer Doktorin der technischen Wissenschaften unter der Leitung von o.Univ.Prof. Kari Jormakka (2010-2013) und ao.Univ.Prof. Dörte Kuhlmann (2013-2015) E259/4 Institut für Architekturwissenschaften/Architekturtheorie eingereicht an der Technischen Universität Wien Fakultät für Architektur und Raumplanung von Ana-Maria Simionovici 0225182 Pöchlarnstraße 7/10, 1200 Wien Wien, “Hodoronc tronc” Cecilia Petrisor “Gospodin mekani je već daleko Budi sada moja žena Lina Ja ću biti gospodin tvrdi Maloj Lini teku suze niz lice” ACKNOWLEDGEMENTS Thank you, Kari Jormakka, for more than words can express. Thank you, Dörte Kuhlmann, for introducing me to Lina Loos and making it possible for me to write this text while working at the Department of Architecture Theory at Vienna University of Technology. Without this possibility, the dialogues with Kristian Faschingeder, Klara Löffler, Christopher Long, Mathias Mittereger and Clemens Rauber, in alphabetical order, may have been in vain. Ultimately, I want to however express the biggest thanks to Jana and Erik, in order of appearance, for your smiles and unconditional love. I dedicate this text to all the women and men in my life, but especially to my grandmother, Cecilia ‘Cici’ Petrisor. Vienna, May 13th, 2015 ii ABSTRACT This work presents a theoretical and methodological inquiry into the rewards of reconsidering what is commonly understood to be irrelevant in discussions in architecture, in this case a significant protagonist who has remained invisible until now, namely Lina Loos, Adolf Loos’s first wife.