Jochen Eisenbrand

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Introduction Foreword Mateo Kries Foreword Tommi Lindh Alvar Aalto- Second Nature Jochen Eisenbrand http://d-nb.info/1054742758 Armin Linke l-V Tuberculosis Sanatorium, Paimio 33 Library, Viipuri (Vyborg) Maison Louis Carre, Bazoches-sur-Guyonne Villa Mairea, Noormarkku Finnish Pavilion, Venice Essays I New Vision, New Spatial Concepts 82 and the Aesthetics of the Avant-garde Jochen Eisenbrand Symbolic Imageries: Alvar Aalto's 116 Encounters with Modern Art Eeva-Liisa Pelkonen The Organic Line: Aalto's Furniture 146 and the International Market Jochen Eisenbrand Natural and Artificial Light in 178 Alvar Aalto's Architecture Markku Norvasuo In Conversation with Kenneth Frampton 202 In the Alchemist's Laboratory: 208 Aalto and the Materials of Architecture Akos Moravanszky Armin Linke VI-IX Studio AlvarAalto, Helsinki Aalto's summer house, Muuratsalo House of Culture, Helsinki Church of the Three Crosses, Vuoksenniska Essays II In Conversation with Armin Linke 274 Alvar Aalto's Urban Planning 278 and CIAM urbanism EricMumford In Conversation with JKMM Architects 310 Alvar Aalto and Italy: 316 a Relationship of Exchange Silvia Micheli Alvar Aalto - The Magus 338 of the North in Germany Dorte Kuhlmann Alvar Aalto and Modernism 360 in the Middle East MinaMarefat The Inner Workings of Architectural 384 Influence: an Iberian Case Study Pedro Gadanho In Conversation with Alvaro Siza 400 Aalto and the New Nordic 406 Eeva-Liisa Pelkonen Armin Linke X-XIII Town Hall, Seinajoki Town Centre Church, Seinajoki Town Centre Cultural Centre, Wolfsburg Church of the Holy Ghost, Wolfsburg Catalogue Elective Affinities Church, Muurame Multisensory Spaces Southwestern Finland Agricultural Cooperative Building, Turku Tuberculosis Sanatorium, Paimio Library, Viipuri (Vyborg) Art and Life Villa Mairea, Noormarkku Maison Louis Carre, Bazoches-sur-Guyonne The Art of Everyday Life Lighting: Rational yet Humane Free-Form Shapes Finnish Pavilion, New York World's Fair, 1939 Centre and Periphery Sunila Paper Mill and Residential Area, Kotka Town Hall, Saynatsalo Town Centre, Seinajoki Aalto International 587 Baker House Student Dormitory, MIT, Cambridge, Mass., USA Hansaviertel Apartment House, Berlin Cultural Centre, Wolfsburg An Architecture of Synthesis 603 Aalto's summer house, Muuratsalo House of Culture, Helsinki Church, Vuoksenniska, Imatra National Pensions Institute, Helsinki Finlandia Hall, Helsinki Annexe Biography 626 Buildings and Projects 1919-75 642 Index 672 Selected Bibliography 680 Picture Credits 683 Acknowledgements 686 [002] Atvar Aalto at home, Helsinki, 1941. .

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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.
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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
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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.
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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.
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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?.
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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
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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.
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Alvar Aalto Route?
Producer Noora Kiili • Maîtrise de Sciences et de l’Informatique, l’Université Paris VIII • 15 years of SME’s business support and regional development projects • SME’s service and product development: • Brand development and business plans • Digital services and marketing, sale strategies • Intellectual property rights and licensing • Creative industries, museums and travel sector • Public & private funding • Since 1,5 years: Travel service producer at Alvar Aalto Foundation “The tradition that binds us all has a lot to do with climate, practical circumstances and the quality of the tragedies and comedies that we take part in. I do not produce emphatically “Finnish” architecture and cannot indeed see any particular contrast between the Finnish and the international. My home country is part of Europe.” - Alvar Aalto 1967- Why Alvar Aalto’s architecture? • The production of Alvar Aalto’s architectural office from 1920’ to 1970’ changed the conceptions of • town planning • Standards for example in housing • functional living spaces and public buildings • furniture, light ware and glass ware design • The top 5 most important cultural heritage of modern architecture in the world • Well known and appreciated from US to Japan Why Alvar Aalto Route? • to uplift the valuation of Aalto’s architecture • fundamentally the aim is to protect the Aalto sites, with the help of generated travel business • 2017 – museums and exhibitions reached over 1 million visitors • heterogenic sites creation of the Aalto Tour Brand and services • organized Alvar
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The Development of Alvar Aalto's Free-Flow Section As a Climate Device Ulrike Passe Iowa State University, [email protected]
Architecture Publications Architecture 12-2008 Atmospheres of space: the development of Alvar Aalto's free-flow section as a climate device Ulrike Passe Iowa State University, [email protected] Follow this and additional works at: http://lib.dr.iastate.edu/arch_pubs Part of the Architectural Engineering Commons, and the Architectural History and Criticism Commons The ompc lete bibliographic information for this item can be found at http://lib.dr.iastate.edu/ arch_pubs/6. For information on how to cite this item, please visit http://lib.dr.iastate.edu/ howtocite.html. This Article is brought to you for free and open access by the Architecture at Iowa State University Digital Repository. It has been accepted for inclusion in Architecture Publications by an authorized administrator of Iowa State University Digital Repository. For more information, please contact [email protected]. Atmospheres of space: the development of Alvar Aalto's free-flow section as a climate device Abstract This paper is part of a broader research agenda, which aims at an environmental re-reading of selected icons of Modern Architecture that share one characteristic, the development of a free-flow open section. The ompc lex relationship between spatial composition and thermal and climatic conditions within buildings is explored both qualitatively, using analytic drawing, and quantitatively, using simulations with computational fluid dynamics. I am seeking patterns common to both and the work has become an investigation of the concept of architectural space at the intersection between art, technology, climate and perception. Most architects of the Modern Movement addressed this relationship in one way or another.
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MAIRE GULLICHSEN the Pori Art Museum 27.05
KYSE ON AIKAMME TAITEESTA / IT’S ABOUT THE ART OF OUR TIME / DET ÄR FRÅGA OM NUTIDA KONST - MAIRE GULLICHSEN The Pori Art Museum 27.05. – 23.09.2007. Opening on Sunday 27 May 2007 at 3 p.m. ” Maire Gullichsen (1907-1990) was a legend in her lifetime. She, if any Finnish woman who lived in the 20th century, had the makings of a hero myth, but heroism is understood in male terms, and is thus poorly suited to Gullichsen’s personality.” Tuula Karjalainen in the commemorative book on Maire Gullichsen, 2007 This year marks the centenary of the birth of Maire Gullichsen. The Maire Gullichsen Art Foundation and the Pori Art Museum celebrate the occasion with a special exhibition and the publishing of a catalogue and commemorative book in association with the Central Art Archives of the Finnish National Gallery. Maire Gullichsen was one of Finland’s leading figures in culture and art during the 20th century. She was a proponent of modern art, whose name is associated with many of the country’s leading cultural institutions of the past century, such as ARTEK, the Free Art School and the Contemporary Art Association. Her name is also borne by the Villa Mairea, designed by Alvar Aalto for Maire and Harry Gullichsen and perhaps one of Finland’s best-known modernist works of architecture. Built in Noormarkku in 1939, the Villa Mairea also became the home of the Gullichsens’ large art collection. Maire Gullichsen wanted to change the atmosphere of the Finnish art world, and she succeeded in this aim.
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Innovators: Architects
NBER WORKING PAPER SERIES INNOVATORS: ARCHITECTS David W. Galenson Working Paper 15661 http://www.nber.org/papers/w15661 NATIONAL BUREAU OF ECONOMIC RESEARCH 1050 Massachusetts Avenue Cambridge, MA 02138 January 2010 The views expressed herein are those of the author and do not necessarily reflect the views of the National Bureau of Economic Research. NBER working papers are circulated for discussion and comment purposes. They have not been peer- reviewed or been subject to the review by the NBER Board of Directors that accompanies official NBER publications. © 2010 by David W. Galenson. All rights reserved. Short sections of text, not to exceed two paragraphs, may be quoted without explicit permission provided that full credit, including © notice, is given to the source. Innovators: Architects David W. Galenson NBER Working Paper No. 15661 January 2010 JEL No. A0 ABSTRACT Frank Lloyd Wright, Le Corbusier, and Frank Gehry were experimental architects: all worked visually, and arrived at their designs by discovering forms as they sketched. Their styles evolved gradually over long periods, and all three produced the buildings that are generally considered their greatest masterpieces after the age of 60. In contrast, Maya Lin is a conceptual architect: her designs originate in ideas, and they arrive fully formed. The work that dominates her career, the Vietnam Veterans Memorial, was designed as an assignment for a course she took during her senior year of college. The dominance of a single early work makes Lin’s career comparable to those of a number of precocious conceptual innovators in other arts, including the painter Paul Sérusier, the sculptor Meret Oppenheim, the novelist J.D.
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The Villa Mairea Binaries Alvar Aalto
the villa mairea binaries alvar aalto artificial The emergent effect of Aalto’s subversion of the Modernist Cartesian grid in the development of the Villa Mairea is echoed in the form that arises from it. It is neither resolved, nor complete, nor does it subscribe to “any kind of absolute reference” (de Solas-Morales, 616); instead, reference and meaning thus produced lie in relating—through form--dichotomous forces. It would therefore seem that meaning is continuously produced via frag- mented accumulation and association; it is in the continuous reading of the complex and contradictory massing of bodies—the collage that is the Villa natural Mairea—that one can exhume it. rustic vernacular sophisticated tectonic Kenneth Frampton describes the main buildings of the Villa Mairea as a“’geologically striated mass’” set in juxtaposition to “the irregularly contoured perimeter of the sauna plunge pool” (Frampton, 199). The head “metaphorical opposition”, in this case “between artificial and natural form” tail (Frampton, 199), is part of Aalto’s all-encompassing architectural trope. In this case there exists an opposition between natural and artificial; in another reading, the rustic vernacular of the sauna is set against the “sophisticated tectonic” (Frampton, 200) of the public facade. The “head of the studio” opposes “the tail of the sauna”, while the “wooden siding of public rooms stands in contrast to the white rendering of private areas” (Frampton, 200). In the Villa Mairea, binary opposition abounds, code and form relate the historical and contemporary; global and local; male and female; natural and artificial; open and closed. Form therefore becomes the dialogic relation- ship between binaries.
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