...And a third detour to two presentations of chaise longues, one of, essentially, pre-War, analogue, works by Bruno Mathsson, Hans J Wegner and Alvar Aalto... 39 to Alvar aalone, and indeed ascribing all the Aalto works featured to Alvar aalone, while noting in a text with the heading Alvar Aalto "...
Born in Kuortane in the Finnish province of South Ostrobothnia in 1898, Alvar Aalto studied architecture in Helsinki between 1916 and 1921. The close proximity to nature engendered in his native Finland - even in the city of Helsinki one encounters large areas of forest - would become one of the most important influences on Aalto's work and makes Aalto's work particularly interesting in a contemporary context. Because Alvar Aalto and his wife Aino Aalto wanted to find a formal expression for the unity of man with his environment. This endeavour resulted in the curved lines, organic shapes and focus on natural materials and colours that are so typical of Aalto's buildings and designs. A closeness to nature, regionality and warmth that became characteristics of a Scandinavian functionalism shaped by Aalto, also in contrast to the rather cool, industrial charm of the German functionalism informed by the Bauhaus.
Aino Aalto and Alvar Aalto - Pioneers of Scandinavian modernism
Today Alvar Aalto is considered to be the pioneer of Scandinavian modernism. It is difficult to understand why his wife Aino Aalto, who was an equal partner in Alvar Aalto's architectural office from 1923 before her marriage, is not mentioned in the same way.
Born in 1894 Aino Maria Marsi, studied architecture in Helsinki and met Alvar Aalto when, at her invitation, he gave a lecture to a group of architecture students she had set up. When Alvar Aalto founded his own office in 1923, Aino became an equal employee and the two married a year later.
Aino Aalto was involved in many architecture and design projects until her untimely death 1949. Project including, for example, the famous Villa Mairea in Noormarkku, the Paimio Sanatorium and the Savoy Restaurant in Helsinki. Exactly what part she played in many of the works currently ascribed to Alvar Aalto can no longer be determined. In addition to the fact that architecture was an absolute male domain at the time, Aino Aalto probably also had personal reasons that made her take on the role behind the scenes, as managing director of Artek and host for the intellectual elite of Finland in her own house. The friend and architect Siegfried Gideon, at whose invitation the Aaltos took part in the congresses of the CIAM (Congrès Internationaux d'Architecture Moderne), once said of the Aaltos, "This marriage was unusual, but its real secret was probably a deep balance of human opposites. Aalto is restless, exuberant, unpredictable; Aino was intense, persistent and quiet."
The Paimio Sanatorium, architecture, furniture and lighting design combined as a total work of art
In 1929 the Aalto's design won the competition for a sanatorium in Paimio, which was completed in 1933. The building, originally designed as a tuberculosis hospital, was intended to help Alvar Aalto achieve his international breakthrough as an architect and can be described as the cornerstone of the organic construction that shaped his work. Thanks to the east-facing hospital rooms and large window fronts, the tuberculosis patients, who at that time were mainly prescribed rest, fresh air and sunlight, were able to wake up to the sun and were housed in the immediate vicinity of the pine forests surrounding the hospital.
Not only the building, but also the interior, furniture, lamps and fittings, all of which were designed by the Aaltos, were perfectly tailored to the needs of the patients. For example, the wave-shaped design of the Paimio armchair, which is made from one piece of birch veneer was designed specifically to enable a posture that is gentle on the lungs.
Some of these first major furniture designs, created at the time by Alvar Aalto and Aino Aalto for the hospital, are still produced by Artek today.
Artek and Aalto
The furniture manufacturer Artek was founded in Helsinki in 1935 by the Aaltos together with the art collector and patron Maire Gullichsen and the art historian Nils Gustav Hahl. With the intention of creating innovative furniture and lighting designs for everyday life based on Alvar Aalto's conception of design, Artek developed into one of the most important protagonists in the field of modern design. Aino Aalto played a special role as managing director and artistic director: she shaped the special Artek aesthetic by combining clear, modern forms with simple ornamentation. To this day, Artek is internationally successful and, in addition to established design classics by the likes of Alvar Aalto or Ilmari Tapiovaara, also produces works by contemporary contemporary designs. Of particular relevance are Alvar Aalto lighting designs and the so-called L-leg furniture collection.
The L-leg collection in particular shows how innovative and refined Alvar Aalto was as a designer and how he created objects that still impress today with their seemingly timeless aesthetics.
The L-leg collection comprises a series of around 50 furniture designs made of plywood, all of which are based on an invention by Alvar Aalto, the so-called L-leg, an L-shaped bent solid wood leg. As a pioneer of technology Alvar Aalto had already experimented with bending wood in the late 1920s and finally developed the L-shaped leg in collaboration with the master carpenter and furniture maker Otto Korhonen. As a standardized, individual component, this L-leg could be easily and stably connected to table tops or seats and thus enabled the versatile and coherent furniture collection, which impresses with its combination of warmth and elegance due to the rounded corners and the material. Designs like the Stool Stool 60 or the table 81B 82B/82 have gone down in history as prime examples of modern design.
The Aaltos developed many of the Artek lighting designs themselves for their architectural projects. As lighting designs they are always based on the specific spatial conditions and exactly analysis of how the light scattering relates to the respective room. For the Paimio Sanatorium in particular a wide variety of lighting designs were created, from ceiling lamps to bedside lamps, but beyond that, they proved to be less commercially successful. The breakthrough came in 1937 with the Golden Bell pendant lamp for the Savoy Restaurant in Helsinki. Further lamp designs followed until the 1950s, such as the A110 pendant lamp in 1952, which is also known as the hand grenade due to its shape. Artek lights impress with their pleasantly scattered, diffuse and glare-free light, and as objects whose unmistakable dynamic design language appears simple, but never boring. Artek lights bequeath a wide variety of rooms an elegant, witty touch.
More about 'Alvar Aalto' in our blog
...Alvar Aalto’s Museum Designs" at the Alvar Aalto Museum, Jyväskylä, Finland Alvar Aalto developed his first musem project in 1928 for a local museum in Perniö, a project that remains unrealised... Between the two standing a further 11 museum projects, both realised and unrealised, and thus an ongoing occupation with museum planning and design that spans all periods of his career, all periods in the development of his formal, structural, material, aesthetic understandings, and thus his museum designs would appear to offer a concise yet comprehensive conduit via which to approach a better understanding of Alvar Aalto...
...⇶ Design Museum Danmark - furnitureindex Alvar Aalto Foundation - A Stool Makes History Hosted by Goggle Arts and Culture A Stool Makes History is the online version of the Alvar Aalto Foundation's 2013 exhibition of the same name, and despite the unequivocal title, isn't just about Aalto's Stool 60 rather it uses the story of Stool 60 as a conduit via which to explore the work of Alvar and Aino Aalto... And in being such not only helps one approach a better understanding of just how much research, revolution and design is contained within the inconspicuous looking Stool 60, but also allows for the briefest of insights into the person of Otto Korhonen, director of the manufacturer Huonekalutehdas Korhonen and whose technical knowledge was so important in the development of the Aaltos' bent wood furniture; of the Aaltos' Paimio Sanatorium, a defining project in the development of Aino and Alvar Aalto, and a not irrelevant project in our current times; of how and why Artek came to be; but for all as reminder that back in the day it was Aino and Alvar Aalto, Alvar's predominance in the partnership being a largely post-war phenomenon...
...Probing Social and Methodological Innovation in Design opens at the MAK – Museum of Applied Arts, Stubenring 5, 1010 Vienna on Wednesday March 4th and runs until Sunday April 5th "Aino and Alvar Aalto Shared Visions... Innovations in Wood Bending Technology & Design of Furniture" at the Takenaka Carpentry Tools Museum, Kobe, Japan The second in a series of three exhibitions dedicated to Aino and Alvar Aalto to be staged in Japan between 2019 and 2021 Innovations in Wood Bending Technology & Design of Furniture takes as its focus, well, those innovations in wood bending technology & design of furniture developed and advanced by Aino and Alvar Aalto...
...Das Bauhaus in Berlin-Steglitz 1932-1933 opens at the Siemens-Villa, MSB Medical School Berlin, Calandrellistraße 1-9, 12247 Berlin on Wednesday September 4th and runs until Friday December 20th "Alvar Aalto’s Refined Landscapes" at the Museum of Finnish Architecture, Helsinki, Finland Whereas Alvar Aalto's work is often quoted in relation to nature, the nature in Aalto's work is often ignored... With the exhibition Alvar Aalto’s Refined Landscapes the Museum of Finnish Architecture aim to rectify that through foci not only on Aalto's interest in and inspiration from both natural landscapes and also cultivated gardens, be they from traditional Islamic or Japanese cultures or indeed his own contemporary Finland, but also how he integrated his buildings into their surrounding landscape, how he, as the museum note, "felt that architecture should be like a final touch added to an otherwise finished picture"...
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