"INTERNATIONAL" UNDERPINNINGS
The basis for the new architectural movement of the 1920s was the
development of new structural and material technologies, which
enabled not only a proper visual and functional realization of the
Modernist ideas and ideals, but also made the designs suitable for
mass-production and international adaptation around the world,
hence the term "Internationalism".
Although there had already been a number of notable buildings
made earlier that could fit the mould of Internationalist (or
Modernist) ideas and technological prowess (like some industrial
facilities or some of the new steel-framed American skyscrapers),
the use of ornamentation or other decorative motifs, or the use
of themes from earlier architectural styles "disqualify" them as
true Modernist works. Some of the earliest European examples that
are unmistakeably touched by the hand of Modernism are, for
example, the Fagus Shoe-Last Factory in Germany (Walter
Gropius and Adolf Meyer, 1910) and the white-stuccoed,
unornamented Steiner House in Austria (Adolf Loos, 1910).
Some of the most notable developers of the Modernist architecture
theories in 1920 were Walter Gropius and Ludwig Mies van der
Rohe (both influential at the Bauhaus art and architecture
school in Dessau, Germany, running from the mid-1920s onward),
Le Corbusier, the Swiss-born architect who had written
several books about the theme since the early 1920s and others,
like Alvar Aalto in Finland, Wells
Coates in England and Giuseppe Tarragni in Italy.
It was perhaps Le Corbusier's "Five Points of a New Architecture"
of 1926 that, along with his works, had the greatest effect on new
Modernist projects. The "points" were:
-
- 1) reinforced concrete column frame
- 2) flat roof with a terrace
- 3) free interior plan
- 4) horizontal strip windows
- 5) composition of the freed facade
He also suggested the visual equality of all parts of a building,
with no front or back, and the use of open two-story halls to
connect different levels. Use of ramps was also another integral
part of his thinking. His Villa Savoye (1928-31) at Poissy-sur-Seine
in France is perhaps the best-known adaptation of the "Five Points".
INTRODUCTION TO FINLAND
The new style of Functionalism was first mentioned in Finland in
1926 when the architect Alvar Aalto wrote about the influence of
Le Corbusier on his architecture. In 1927 he and
Erik Bryggman presented the first
Finnish design with Functionalist themes, the competition entry
for the Vaasan Kauppiaiden Oy office building.
In 1928, through a lecture given by Swede Sven Markelius
and several writings, Functionalism became well-known among
Finnish architects. The same year, Aalto travelled to Holland and
France to study the new architecture, Bryggman and Ahonen
went to see the new German apartment production and
P.E. Blomstedt went to the Pressa
Exhibition in Cologne, Germany. Subsequently, the competition
entries of the time showed strong Functionalist influence:
Bryggman's Kotkan Rauta Oy Building and the headquarters for Suomi
Insurance Co., the Pohja Insurance Co. Building by Kallio,
Ekelund and Björk, the design by Aalto and
Bryggman for the summer villa for magazine Aitta and Aalto's
design for the Helsinki Stadium. At the time, also Aalto's plans
for the Turun Sanomat newspaper, the first Functionalistic
building in Finland, were completed.
The first work to be realized was the design by Aalto and Bryggman
for the 1929 Turku Fair (city's 700th anniversary exhibition),
partly based on the plans for the Stockholm Fair, which was held
the next year and was maybe the single most important factor in
rooting Modernism to the Nordic countries. The Turku fair was
notable not only for its use of standardized building elements
but also for the open plan of the exhibition area (designed by
Bryggman). Also Aalto's two first Functionalistic buildings, the
so-called standardized rental apartment block and the Turun
Sanomat newspaper building were completed, both in Turku. At the
same time Aalto took part in the activity of CIAM, the
international architect congress. All in all, it can be said that
whereas Modernism was introduced in Finland at the same time as
in Sweden and Norway, there was a lag of a few years as compared
to the Central Europe.
In the late-1920s Germany became the most important source of
influence for development, but the ideas for Functionalistic
dwellings and housing developments were at the time too advanced
for the political and social climate in Finland. Not until the
late-1930s and after the war could a larger-scale housing reform
be carried out.
ARCHITECTS AND FUNCTIONALISM
As always, the new ideas were more easily embraced by the younger
architects, who readily switched to Functionalism and used it in
their works. The older architects of the Jugend/National-romantic
era (like Eliel Saarinen (the Helsinki Railway Station and
the 1922 Chicago Tribune
competition) and Johan Sigfrid Sirén (the
Parliament building in Helsinki)) were usually more "bound" to
the heavy Classicism, although some of them supported the
Functionalistic ideas. A conflict between the traditional and
modern schools of design was evident in 1929-1931, when both Aalto
and Sirén aspired for the seat of the professor of
architecture at the Technical University in Helsinki --
ultimately, Sirén was chosen. He was also the chairman of
the SAFA (Architect Association) during these three years. The
authority of the older generation with both the real-world opinion
and the SAFA made the developers wary and slow to choose
Functionalistic designs over more traditional ones. Throughout the
1930s, a Classistic school of design co-existed with
Functionalism.
Not only the age difference of designers and their interests, but
also the differing attitude toward Functionalism in cities could
affect the fate of a design. Turku, for example, supported the new
movement from the start, likewise to Viipuri, whereas in
Helsinki, the capital, attitudes were more reserved, partly due to
the power held by the traditional-minded architectural authorities
there.
The Modernist influences came from the other Nordic countries and
the Central Europe, mainly Germany -- although Soviet Union and
its Constructivist architects were just over the border, the poor
connections there led to the Russian influences coming through
Germany and Holland. The good travel connections and architectural
literature allowed a free and up-to-date exchange of thoughts and
ideas. Although echoes of criticism towards Modernism in Germany
reached also Finland in the early 1930s, the new movement,
paradoxically, reached its full popularity only after it had been
banned by the totalitarist regimes in Europe. The economic
depression in the early 1930s nearly ceased all new construction,
but when the situation improved the new style was uniformly
accepted as the new language of contemporary architecture.
ARCHITECT PRESENTATION
Alvar Aalto (1898-1976)
The first Finnish architect to "convert" into Functionalism
from Classicism and one who avidly studied and relayed the
latest in the international development in Modernism. The
figurehead of Finnish Functionalism both home and abroad
for the whole of 1930s. Although never totally a "cubist",
adopted a less strict style for his works in the 1940s.
The chairman of the SAFA for 15 years. Works of the era
include the Turun Sanomat Building (1928-1930), the Paimio
Sanatorium (1929-1933), the
Viipuri Municipal Library
(1927-1935) and the New York World's Fair Pavilion (1939).
Erik Bryggman (1891-1955)
Along with Aalto, in the van of adopting Functionalism. Worked
with Aalto in the first stages of introduction of the style to
Finland, and similarly moved towards a more "organic" and
softer expression by the 1940s. Works of the era include the
Antwerp Fair Pavilion (1930), the Åbo Akademi Library
(1933-1935) and the Vierumäki Sports Academy (1933-1936).
P.E. (Pauli Ernesti) Blomstedt (1900-1935)
The architect who maybe more than anyone else brought forward
the social issues of the movement and diligently wrote about
architecture and arts in general. Works of the era include the
Kotkan Suomalainen Säästöpankki bank (1934-1935),
the Hotel Pohjanhovi (1935-1936) and the Kannonkoski Church
(1933-1938).
Hilding Ekelund (1893-1984)
An architect and the editor of the "Architect" magazine in
1930-1934, who used it as a forum to publicize architectural
issues as well as Functionalistic designs that had been
bypassed in competitions. An advocate for Functionalistic ideas
especially in dwelling. Made a large number of competition
entries in the 1930s, thus an influential figure in par with
Aalto and Bryggman. Vice-chairman of the SAFA. Works of the
era include the Finnish Embassy in Moscow (1935-1939), the
Olympic Village residential area (1939-1940 with Martti
Välikangas, after that continued the project alone), the
Helsinki Velodrome (1938-1940) and the Rowing Stadium (1940).
Erkki Huttunen (1901-1956)
The chief architect of the S.O.K. co-op design branch since his
joining in 1928 and in head of the branch since 1939. Along with
the larger volumes and warehouses, he also designed several shop
buildings for rural areas and in general held very tight rein on
the designing of these stores, dubbed "Huttunen's shoeboxes".
Left the S.O.K. in 1941 and later acted as the chairman of the
national Building Board. Works of the era include the S.O.K.
Rauma Office and Warehouse (1930-1931), the
S.O.K. Viipuri Flour Mill and
Warehouse (1930-1932), the S.O.K. Sortavala (1931, built
1939) and the Kotka town hall (1932).
Uno Ullberg (1879-1944)
A Viipuri-born architect who was one of the most notable
architects not only in Viipuri, but also nationwide. Was
instrumental in introducing Functionalism to Viipuri and acted
as the Viipuri city architect in 1932-1936. Moved then to Helsinki
where he became the head of the architectural bureau of the
National Board of Health. Works of the era include the
Viipuri Art Museum and Drawing School
(1930), the Viipurin Panttilaitos Oy
Building (1931), the Viipuri
Provincial Archives (1933) and the
Viipuri Hospital Maternity and Womens' Wards (1937).
Ragnar Ypyä (1900-1980)
Another influential architect in Viipuri, who designed several
buildings himself, some with his wife Martta
Martikainen-Ypyä (1904-1992). Was the Viipuri city
architect in 1936-1939, after Ullberg left the post. Works of
the era include the Viipuri College
of Commerce and Navigation (1938).
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