Aino and Alvar Aalto: the legendary Scandinavian design couple

wp:paragraph While Finnish architect and designer Alvar Aalto (1898-1976) is well known to design enthusiasts as one of the pioneers of Scandinavian design, less attention is paid to the role of his wife, Aino Aalto (1894-1949), who worked alongside her husband for 25 years on all the projects of their agency, and later on those of the Artek company. This post is an opportunity to remind us that Aino Aalto was not just the wife of... by revisiting the couple's daring work in architecture, interior design and designer furniture. While Finnish architect and designer Alvar Aalto (1898-1976) is well known to design enthusiasts as one of the pioneers of Scandinavian design, less is said about the role of his wife, Aino Aalto (1894-1949), who worked alongside her husband for 25 years on all the projects of their agency, and later on those of the Artek company. This post is an opportunity to remind us that Aino Aalto was not just the wife of... by revisiting the couple's daring work in architecture, interior design and designer furniture. /wp:paragraph wp:image {"id":16444, "width":732, "height":474, "sizeSlug": "large", "linkDestination": "none"} Aino Marsio-Aalto and Alvar Aalto in the Artek-Pacoe showroom in New York, 1940 Aino Marsio-Aalto and Alvar Aalto in the Artek-Pacoe showroom in New York, 1940 . Herbert Matter: courtesy of Aalto Family Collection Herbert Matter: courtesy of Aalto Family Collection /wp:image wp:paragraph Aino Aalto née Marsio was 4 years older than Alvar Aalto. From 1913, she studied architecture at the Aalto School of Art, Design and Architecture in Helsinki, graduating in 1920. At the time, it was very rare for a woman to study at university, let alone to become an architect! Before meeting her future husband, Aino Marsio worked successfully with a number of architects, including Oiva Kallio and Bengt Schalin (a garden architect and botanist); she also travelled in Europe. Aino Aalto née Marsio was 4 years older than Alvar Aalto. From 1913, she studied architecture at the Aalto School of Art, Design and Architecture in Helsinki, graduating in 1920. At the time, it was very rare for a woman to study at university, let alone to become an architect! Before meeting her future husband, Aino Marsio worked successfully with several architects, including Oiva Kallio and Bengt Schalin (a garden architect and botanist); she also travelled in Europe. /wp:paragraph wp:paragraph Alvar Aalto also studied architecture from 1916 to 1921 at Helsinki Technical University. It was there that he met Aino. In 1923, just 2 years after graduating, he opened his own architectural practice in Jyväskylä. 1 year later, he hired Aino as his assistant, before marrying her 6 months later. Over the next 25 years, Alvar and Aino worked together to design and create major architectural and design projects for their era. /wp:paragraph wp:image {"align": "center", "id":16445, "width":658, "height":491, "sizeSlug": "large", "linkDestination": "none"} Aerial view of the Viipuri library circa 1935, then in Finland, architecture: Alvar Aalto, 1927-1935. An emblematic work by the architect, expressing a modern style for its time. Aerial view of the Viipuri library, circa 1935, then in Finland, architecture: Alvar Aalto, 1927-1935. An emblematic work by the architect, expressing a modern style for its time. Courtesy of The Finnish Committee for the Restoration of Viipuri Library Courtesy of The Finnish Committee for the Restoration of Viipuri Library /wp:image wp:image {"align": "center", "id":16446, "width":704, "height":577, "sizeSlug": "large", "linkDestination": "none"} The Viipuri Library in 2014, partly restored. It is now part of the city of Vyborg in Russia. Unlike the 1st generation of Modern architects such as Gropius and Le Corbusier, Aalto favoured natural materials. For the library, he combined wood with concrete, white stucco, glass and steel for the first time. © Courtesy of The Finnish Committee for the Restoration of Viipuri Library and Petri Neuvonen © Courtesy of The Finnish Committee for the Restoration of Viipuri Library and Petri Neuvonen /wp:image wp:image {"align": "center", "id":16447, "width":731, "height":486, "sizeSlug": "large", "linkDestination": "none"} Viipuri Library, architecture: Alvar Aalto. Exterior view. Viipuri Library, architecture: Alvar Aalto. Exterior view. Denis Esakov © Denis Esakov /wp:image wp:image {"align": "center", "id":16495, "width":591, "height":464, "sizeSlug": "large", "linkDestination": "none"} Main entrance, Viipuri Library, architecture Alvar Aalto. Image © Courtesy of The Finnish Committee for the Restoration of Viipuri Library and Petri Neuvonen Image © Courtesy of The Finnish Committee for the Restoration of Viipuri Library and Petri Neuvonen /wp:image wp:image {"align": "center", "id":16496, "width":629, "height":395, "sizeSlug": "large", "linkDestination": "none"} Viipuri Library, architecture: Alvar Aalto. Loan room in 2009, before the restoration work. One of the modern characteristics of the "Alto" style: Viipuri Library, architecture: Alvar Aalto. Loan room in 2009, before restoration work. One of the modern features of the "Alto" style: cylindrical zenithal openings. cylindrical zenithal openings. Image © Courtesy of The Finnish Committee for the Restoration of Viipuri Library Image © Courtesy of The Finnish Committee for the Restoration of Viipuri Library /wp:image wp:image {"id":16454, "sizeSlug": "large", "linkDestination": "none"} Interior of the Viipuri library, Alvar Aalto architecture. A conference/meeting room that was highly innovative for its time, as Aalto designed an undulating acoustic ceiling. This unique element, constructed from wooden slats, was designed to ensure good sound transmission from all points in the very long room. Interior of the Viipuri library, architecture by Alvar Aalto. A conference/meeting room that was highly innovative for its time, as Aalto designed an undulating acoustic ceiling. This unique element, constructed from wooden slats, was designed to ensure good sound transmission from all points in the very long room. © Alvar Aalto Museum, photo: Gustaf Welin, VG Bild-Kunst, Bonn, 2014 © Alvar Aalto Museum, photo: Gustaf Welin, VG Bild-Kunst, Bonn, 2014 /wp:image wp:image {"id":16455, "sizeSlug": "large", "linkDestination": "none"} Alvar and Aino Aalto with Aarne Erve inside the Viipuri library. Alvar and Aino Aalto with Aarne Erve inside the Viipuri library. Courtesy of The Finnish Committee for the Restoration of Viipuri Library © Courtesy of The Finnish Committee for the Restoration of Viipuri Library /wp:image wp:image {"align": "center", "id":16456, "sizeSlug": "large", "linkDestination": "none"} Viipuri Library, interior, architecture: Alvar Aalto, 1927-1935. Viipuri Library, interior, architecture: Alvar Aalto, 1927-1935. © Wiki Arquitectura /wp:image wp:image {"id":16457, "sizeSlug": "large", "linkDestination": "none"} Viipuri Library, interior, 2015. Architecture: Alvar Aalto, 1927-1935. Viipuri Library, interior, 2015. Architecture: Alvar Aalto, 1927-1935 © Massis Sirapian © Massis Sirapian /wp:image wp:paragraph Although the Viipuri Library is generally credited to Alvar Aalto (photos above), the 2 architects worked so closely together on each project that it was sometimes difficult to distinguish which works were by Alvar or Aino. The couple's career was marked by 4 essentially architectural projects: the design and fitting out of the Paimio Sanatorium (1928-1933), the interior decoration of the Savoy restaurant (1937), the design of the Villa M Villa M airea (1938-1939), and the Finnish pavilion at the New York World's Fair Finnish pavilion at the New York World's Fair (1939). /wp:paragraph wp:image {"id":16458, "sizeSlug": "large", "linkDestination": "none"} Paimio Sanatorium, architects : Aino and Alvar Aalto (1928-1933). View of the patients' wing, sun terraces, 1930s Paimio Sanatorium, architects : Aino and Alvar Aalto (1928-1933). View of the patients' wing, sun terraces, 1930s. Photo Gustaf Welin Photo Gustaf Welin © Alvar Aalto Foundation © Alvar Aalto Foundation /wp:image wp:image {"id":16459, "sizeSlug": "large", "linkDestination": "none"} Paimio Sanatorium, architects : Aino and Alvar Aalto (1928-1933). View of the patients' wing, sunny terraces alternating with interior spaces. Paimio Sanatorium, architects: Aino and Alvar Aalto (1928-1933). View of the patients' wing, sunny terraces alternating with interior spaces. Photo Maija Holma © Alvar Aalto Foundation Photo Maija Holma © Alvar Aalto Foundation /wp:image wp:image {"align": "centre", "id":16461, "width":483, "height":322, "sizeSlug": "large", "linkDestination": "none"} Paimio Sanatorium, architects : Aino and Alvar Aalto (1928-1933). Top floor terrace, 1933. Paimio Sanatorium, architects : Aino and Alvar Aalto (1928-1933). Terraced top floor, 1933. Photo Gustaf Welin © Alvar Aalto Foundation Photo Gustaf Welin © Alvar Aalto Foundation /wp:image wp:gallery {"ids":[16462,16463], "linkTo": "none"} Left: Paimio Sanatorium, architects : Aino and Alvar Aalto (1928-1933). Patients resting on the top floor terrace (solarium), 1934 Photo Gustaf Welin, © Alvar Aalto Foundation Paimio Sanatorium, architects : Aino and Alvar Aalto (1928-1933). Patients resting on the top floor terrace (solarium), 1934 Photo Gustaf Welin, © Alvar Aalto Foundation Right: Paimio Sanatorium, architects: Aino and Alvar Aalto: Aino and Alvar Aalto (1928-1933). Interior view with the "Paimio" chairs designed for the occasion, 1934. Paimio Sanatorium, architects: Aino and Alvar Aalto (1928-1933). Interior view with the "Paimio" chairs designed for the occasion, 1934. Photo Gustaf Welin © Alvar Aalto Foundation Photo Gustaf Welin © Alvar Aalto Foundation /wp:gallery wp:image {"id":16464, "sizeSlug": "large", "linkDestination": "none"} Paimio Sanatorium, architects : Aino and Alvar Aalto (1928-1933), interior view. Paimio Sanatorium, architects : Aino and Alvar Aalto (1928-1933), interior view. Arquitectura Viva © Arquitectura Viva /wp:image wp:paragraph The Paimio Sanatorium The Paimio Sanatorium is considered, along with the Viipini Library, to be a functionalist building. The Aalto family followed certain principles of modern architecture laid down by Le Corbusier, such as the flat roof. On the other hand, it expresses the couple's belief in humanist design, hence the conception of long balconies exposed to the sun to which the beds of tuberculosis patients could be drawn. A solarium terrace was designed to allow the most robust patients to get some fresh air. /wp:paragraph wp:paragraph What defines the Aalto architectural style? In addition to a strong humanist approach, we can even speak of design adapted to the user experience: for the sanatorium, Alvar Aalto and his wife spent time imagining spaces from the point of view of tuberculosis patients lying in their beds; for the Viipuri Library, the reading areas are laid out under a glass roof, and the auditorium is designed with an undulating ceiling with acoustic qualities. Particular attention is paid to natural lighting, and living spaces are often very airy. They advocate humanist design, somewhat at odds with the rigorist design that they consider too "cold", advocated by the European avant-garde (Walter Gropius, Mies van der Rohe, Marcel Breuer). Instead of geometric lines, the Aalto family favoured organic curves. What defines the Aalto architectural style? In addition to a strong humanist approach, we can even speak of design adapted to the user experience: for the sanatorium, Alvar Aalto and his wife spent time imagining spaces from the point of view of tuberculosis patients lying in their beds; for the Viipuri Library, the reading areas were laid out under glass, and the auditorium was designed with an undulating ceiling with acoustic qualities. Particular attention is paid to natural lighting, and living spaces are often very airy. They advocate humanist design, somewhat at odds with the rigorist design that they consider too "cold", advocated by the European avant-garde (Walter Gropius, Mies van der Rohe, Marcel Breuer). Instead of geometric lines, the Aalto family favoured organic curves. /wp:paragraph wp:media-text {"mediaPosition": "right", "mediaId":16466, "mediaType": "image"} wp:paragraph {"placeholder": "Contents...", "fontSize": "large"} Model of the Finnish pavilion, partial view of one of the interior facades composed of a swinging wall in dynamic wood, New York World's Fair, 1939, architects: Aino and Alvar Aalto. Model of the Finnish pavilion, partial view of one of the interior facades composed of a swinging wall in dynamic wood, New York World's Fair, 1939, architects: Aino and Alvar Aalto. © Alma Reyes © Alma Reyes /wp:paragraph /wp:media-text wp:media-text {"mediaId":16467, "mediaType": "image"} wp:paragraph {"placeholder": "Contents...", "fontSize": "large"} Period photo of the famous wooden wall designed for the Finnish pavilion, New York World's Fair, 1939. Architects: Aino and Alvar Aalto. This wall, which seems to slope down and envelop visitors, is made up of thin strips of wood that let the light through. A "work of genius" according to the famous American architect Frank Lloyd Wright, with whom the Aalto family share a taste for design that brings people and nature closer together. Vintage photo of the famous wooden wall designed for the Finnish pavilion, New York World's Fair, 1939. Architects: Aino and Alvar Aalto. This wall, which seems to slope down and envelop visitors, is made up of thin strips of wood that let the light through. A "work of genius" according to the famous American architect Frank Lloyd Wright, with whom the Aalto family share a taste for design that brings people and nature closer together. Vintage photo of the famous wooden wall designed for the Finnish pavilion, New York World's Fair, 1939. Architects: Aino and Alvar Aalto. This wall, which seems to slope down and envelop visitors, is made up of thin strips of wood that let the light through. A "work of genius" according to the famous American architect Frank Lloyd Wright, with whom the Aalto family share a taste for design that brings people and nature closer together. /wp:paragraph /wp:media-text wp:spacer {"height":27} /wp:spacer wp:paragraph In 1935, the Aalto family, art gallery owner Maire Gullichsen and art historian Nils-Gustav Hahl founded Artek, a company specialising in bent laminated wood furniture, to distribute the furniture created by the architectural duo for architectural projects. Alvar Aalto and his wife conceived of the creation of a building as a total work of art, encompassing the design of interior surfaces, from furniture, lamps and glassware to fabrics. The interior of the Savoy restaurant and the design of the Villa Mairea are concrete examples of this global approach. In 1935, the Aalto family, art gallery owner Maire Gullichsen and art historian Nils-Gustav Hahl founded the Artek company, which specialised in bent laminated wood furniture, to distribute the furniture created by the architectural duo for architectural projects. Alvar Aalto and his wife conceived of the creation of a building as a total work of art, encompassing the design of interior surfaces, from furniture, lamps and glassware to fabrics. The interior of the Savoy Restaurant and the design of Villa Mairea are concrete examples of this global approach. /wp:paragraph wp:image {"align": "center", "id":16468, "width":543, "height":543, "sizeSlug": "large", "linkDestination": "none"} Photographs of the Savoy Restaurant, 1937. The restaurant's interior design was created by Aino Aalto, Alvar Aalto and Dora Jung with the Artek company. Photographs of the Restaurant Savoy, 1937. The interior of the restaurant was designed by Aino Aalto, Alvar Aalto and Dora Jung with the Artek company. Image © Artek Image © Artek /wp:image wp:image {"id":16469, "width":595, "height":595, "sizeSlug": "large", "linkDestination": "none"} The Restaurant Savoy in 1937. The Restaurant Savoy in 1937. Image © Artek Image © Artek /wp:image wp:media-text {"mediaId":16472, "mediaType": "image"} wp:paragraph {"placeholder": "Contents...", "fontSize": "large"} The Villa Mairea in Noormarkku, Finland, architecture: Alvar Aalto and Aino Aalto, 1937-1938. The building has a U-shaped plan with an L-shaped living area to the east and a sauna to the west, linked by a gallery covered by a green roof. The Aalto philosophy was to design houses that blend into their natural surroundings. The relationship between man and nature was essential to them. Villa Mairea in Noormarkku, Finland, designed by Alvar Aalto and Aino Aalto, 1937-1938. The building has a U-shaped plan with an L-shaped living area to the east and a sauna to the west, linked by a gallery covered by a green roof. The Aalto philosophy was to design houses that blend into their natural surroundings. The relationship between man and nature was essential to them. ©Armin Linke ©Armin Linke /wp:paragraph /wp:media-text wp:spacer {"height":27} /wp:spacer wp:image {"align": "center", "id":16474, "sizeSlug": "large", "linkDestination": "none"} Villa Mairea in Noormarkku, Finland, architecture: Alvar Alato and Aino Aalto, 1937-1938. View of the interior staircase of the Villa, a hymn to wood. Villa Mairea in Noormarkku, Finland, architecture: Alvar Alato and Aino Aalto, 1937-1938. View of the interior staircase of the Villa, a hymn to wood © Armin Linke /wp:image wp:gallery {"ids":[16478,16479], "linkTo": "none"} Left: Villa Mairea in Noormanku, Finland, architecture: Alvar Alato and Aino Aalto, 1937-1938. Interior photo. Villa Mairea in Noormanku, Finland, architecture: Alvar Alato and Aino Aalto, 1937-1938. Interior photo. Right: Villa Mairea in Noormanku, Finland, designed by Alvar Aalto and Aino Aalto, 1937-1938. Interior photo. The Aalto family placed great importance on the way light penetrated buildings. Alvar Aalto and Aino Aalto, 1937-1938. Interior photograph. The Aalto family attached great importance to the way light penetrated buildings. © Alvar Aalto Museum, Jyväskylä Alvar Aalto Museum, Jyväskylä /wp:gallery wp:paragraph The decoration of the Savoy was marked by the creation of the Savoy Vase, which has become an iconic object of modern design. The object bears witness to the Aalto family's commitment to organic design - organic design marked by rhythmic lines and flowing forms inspired by nature. It is a characteristic of their work that marks a departure from the concomitant development of the very 'raw' aesthetic of international architectural style, and brings them closer to the style of Frank Lloyd Wright. /wp:paragraph wp:media-text {"mediaId":16481, "mediaType": "image"} wp:paragraph {"placeholder": "Contents...", "fontSize": "large"} The iconic Savoy Vase, design by Alvar and Aino Aalto, 1936, also known as the Aalto Vase (in Finnish aalto means "the wave"). The iconic Savoy Vase, designed by Alvar and Aino Aalto, 1936, also known as the Aalto Vase (in Finnish aalto means "the wave"). Image © Artek Image © Artek /wp:paragraph /wp:media-text wp:spacer {"height":25} /wp:spacer wp:paragraph An important contribution of the Aalto family to the history of design is their development of new methods for gluing and bending plywood. They filed several patents on wood bending. The Aalto family came from a country with a strong tradition of woodworking. For example, Alvar Aalto refused to use the metal tubes and other artificial materials used by the European avant-garde, which he considered too far removed from nature. They launched technically innovative chairs on the market, such as chair no. 41 (the famous Paimio chair) and no. 31 (1931-1932), both cantilever designs. For the 1st time, the legs are anchored under the seat without using an additional frame or structure. /wp:paragraph wp:image {"id":16482, "width":547, "height":453, "sizeSlug": "large", "linkDestination": "none"} Alvar Aalto, Paimio armchair model No. 41, 1931-1932, designed for the Paimio Sanatorium. A seat designed to offer patients an ideal position. Alvar Aalto, Paimio armchair model N°41, 1931-1932, designed for the Paimio Sanatorium. A seat designed to offer patients an ideal position © Art Design Tendance Art Design Tendance /wp:image wp:media-text {"mediaId":16483, "mediaType": "image"} wp:paragraph {"placeholder": "Content...", "fontSize": "large"} Artek 42 armchair, design by Alvar Aalto, 1932. Aalto's experiments with glued and bent plywood led to the creation of chairs that were both functional and comfortable. Artek 42 armchair, designed by Alvar Aalto, 1932. Aalto's experiments with glued and curved plywood led to the creation of seats that were both functional and comfortable. Artek 42 armchair, designed by Alvar Aalto, 1932. Aalto's experiments with glued and curved plywood led to the creation of seats that were both functional and comfortable. /wp:paragraph /wp:media-text wp:spacer {"height":36} /wp:spacer wp:gallery {"ids":[16484,16485], "linkTo": "none"} Left: Artek 60 stool, design: Alvar Aalto, 1932-1933. The 60 stool is a design icon of the 1930s. The legs are assembled using a simplified bending technique. Stool 60 was presented at the Viipuri library Artek Stool 60, design: Alvar Aalto, 1932-1933. Stool 60 is a design icon of the 1930s. The legs are simplified by the bending technique. Stool 60 was presented at the Viipuri library. Right: Artek 60 stool, design: Alvar Aalto, 1932-1933. Practical because it can be stacked, the n°60 stool is a best-seller: in 50 years, more than 1 million have been made! Artek 60 stool, design: Alvar Aalto, 1932-1933. Practical because it can be stacked, the n°60 stool is a best-seller: over 1 million have been made in 50 years! /wp:gallery wp:image {"id":16486, "width":513, "height":377, "sizeSlug": "large", "linkDestination": "none"} Alvar Aalto, 1935. Chair 68 can be stacked with up to 4 chairs and is currently available from publisher Artek with upholstery and in a variety of colours and finishes. Alvar Aalto, 1935. Chair 68 can be stacked up to 4 chairs high and is currently available from Artek with upholstery and in a variety of colours and finishes. Alvar Aalto, 1935. Chair 68 can be stacked up to 4 chairs high and is currently available from Artek with upholstery and in a variety of colours and finishes. /wp:image wp:paragraph The Aalto duo's formidable alchemy came to an abrupt end in 1949, when Aino died of cancer. Thereafter, Alvar Aalto continued his career as an architect until the end of his life. The Artek company, which publishes the furniture designed by the Aalto couple, still exists, but was acquired by Vitra in 2013. Alvar and Aino Aalto left their mark on design in the 1st half of the 20th century. Their ideas of organic design greatly influenced post-war designers such as Charles and Ray Eames. /wp:paragraph wp:paragraph {"align": "right"} François Boutard François Boutard /wp:paragraph

Aino and Alvar Aalto: the legendary Scandinavian design couple

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