70-622: Turning Torso is a neo-futurist residential skyscraper built in Malmö , Sweden , in 2005. It was the tallest building in the Nordic region until September 2022, when it was surpassed by Karlatornet in Gothenburg . Located on the Swedish side of the Öresund strait, it was built and is owned by Swedish cooperative housing association HSB . It is regarded as the second twisted skyscraper in
140-405: A U-shape around a central inner 'garden' whose central feature is a kidney-shaped swimming pool. Adjacent to the pool is a sauna executed in a rustic style, alluding to both Finnish and Japanese precedents. The design of the house is a synthesis of numerous stylistic influences, from traditional Finnish vernacular to purist modernism, as well as influences from English and Japanese architecture. While
210-495: A corollary to technology, noting that a large amount of the structures built today are byproducts of new materials and concepts about the function of large-scale constructions in society. Etan J. Ilfeld wrote that in the contemporary neo-futurist aesthetic "the machine becomes an integral element of the creative process itself, and generates the emergence of artistic modes that would have been impossible prior to computer technology." Reyner Banham's definition of "une architecture autre"
280-604: A deep desire to humanize architecture through an unorthodox handling of form and materials that was both rational and intuitive. Influenced by the so-called International Style modernism (or functionalism, as it was called in Finland) and his acquaintance with leading modernists in Europe, including Swedish architect Erik Gunnar Asplund and many of the artists and architects associated with the Bauhaus , Aalto created designs that had
350-624: A departure from such norms with the introduction of organic references. Through Sven Markelius, Aalto became a member of the Congres Internationaux d'Architecture Moderne (CIAM), attending the second congress in Frankfurt in 1929 and the fourth congress in Athens in 1933, where he established a close friendship with László Moholy-Nagy , Sigfried Giedion , and Philip Morton Shand . It was during this time that he closely followed
420-529: A designer he is celebrated as a forerunner of midcentury modernism in design; his invention of bent plywood furniture had a profound impact on the aesthetics of Charles and Ray Eames and George Nelson . The Alvar Aalto Museum , designed by Aalto himself, is located in what is regarded as his home city, Jyväskylä . The entry for him on the Museum of Modern Art website notes his "remarkable synthesis of romantic and pragmatic ideas," adding His work reflects
490-662: A few buildings in France, Germany, Italy, and the US. Aalto's work with wood was influenced by early Scandinavian architects. His experiments and bold departures from aesthetic norms brought attention to his ability to make wood do things not previously done. His techniques in the way he cut beech wood, for example, and his ability to use plywood as a structural element while at the same time exploiting its aesthetic properties, were at once technically innovative and artistically inspired. Other examples of his boundary-pushing sensibility include
560-587: A focus for some architects such as Buckminster Fuller , Norman Foster , Kenzo Tange , Renzo Piano and Richard Rogers . [REDACTED] Media related to Neo-futurist architecture at Wikimedia Commons Alvar Aalto Hugo Alvar Henrik Aalto ( pronounced [ˈhuːɡo ˈɑlʋɑr ˈhenrik ˈɑːlto] ; 3 February 1898 – 11 May 1976) was a Finnish architect and designer. His work includes architecture, furniture, textiles and glassware , as well as sculptures and paintings. He never regarded himself as an artist, seeing painting and sculpture as "branches of
630-525: A major exhibition of Aalto's works. Although he is sometimes regarded as among the first and most influential architects of Nordic modernism , closer examination reveals that Aalto (while a pioneer in Finland) closely followed and had personal contacts with other pioneers in Sweden, in particular Gunnar Asplund and Sven Markelius . What they and many others of that generation in the Nordic countries shared
700-544: A move to a more daring, synthetic attitude. It has been pointed out that the planning principle for Paimio Sanatorium – the splayed wings – was indebted to the Zonnestraal Sanatorium (1925–31) by Jan Duiker, which Aalto visited while it was under construction. While these early Functionalist bear hallmarks of influences from Le Corbusier , Walter Gropius , and other key modernist figures of central Europe, Aalto nevertheless started to show his individuality in
770-464: A new tradition (1949), in which Aalto received more attention than any other Modernist architect, including Le Corbusier . In his analysis of Aalto, Giedion gave primacy to qualities that depart from direct functionality, such as mood, atmosphere, intensity of life and even national characteristics, declaring that "Finland is with Aalto wherever he goes." More recently, however, some architecture critics and historians have questioned Aalto's influence on
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#1732783790308840-590: A number of key buildings after his return to Finland, most notably in several of the buildings in the new Helsinki University of Technology campus (starting in 1950), Säynätsalo Town Hall (1952), Helsinki Pensions Institute (1954), Helsinki House of Culture (1958), as well as in his own summer house, the Experimental House in Muuratsalo (1957). In the 1950s Aalto immersed himself in sculpting, exploring wood, bronze, marble, and mixed media. Among
910-554: A number of patents: for example, he invented a new form of laminated bent-plywood furniture in 1932 (which was patented in 1933). His experimental method had been influenced by his meetings with various members of the Bauhaus design school, especially László Moholy-Nagy , whom he first met in 1930. Aalto's furniture was exhibited in London in 1935, to great critical acclaim. To cope with the consumer demand, Aalto, together with his wife Aino, Maire Gullichsen , and Nils-Gustav Hahl founded
980-674: A pervasively higher quality of life"; he referenced the Fourth Pillar of Sustainable Development Theory and reported that the name had been inspired by the United Nations report Our Common Future . Soon after Di Bari's manifesto, a collective in the UK called The Neo-Futurist Collective, launched their own version of the Neo-futurist manifesto, written by Rowena Easton, on the streets of Brighton on 20 February 2008, to mark
1050-548: A profound impact on the trajectory of modernism before and after World War II. Hugo Alvar Henrik Aalto was born in Kuortane , Finland. His father, Johan Henrik Aalto, was a Finnish-speaking land-surveyor and his mother, Selma Matilda "Selly" (née Hackstedt) was a Swedish-speaking postmistress. When Aalto was 5 years old, the family moved to Alajärvi , and from there to Jyväskylä in Central Finland . He studied at
1120-457: A purist modernism would be tested in built form with the commission to design Villa Mairea (1939) in Noormarkku , the luxury home of young industrialist couple Harry and Maire Gullichsen . It was Maire Gullichsen who acted as the main client, and she worked closely not only with Alvar but also with Aino Aalto on the design, encouraging them to be more daring in their work. The building forms
1190-666: A residential building based on the idea of a structure of twisting cubes. It is a solid, immobile building constructed in nine segments of five-story pentagons that twist relative to each other as it rises; the topmost segment is twisted 90 degrees clockwise from the ground floor. Each floor consists of an irregular pentagonal shape rotating around the vertical core, which is supported by an exterior steel framework. The two bottom segments are intended as office space. Segments three to nine house 147 rental apartments. Construction started in February 2001. One reason for building Turning Torso
1260-787: A series of tall office blocks. Aalto first presented his vision in 1961, but it went through various modifications during the early '60s. Only two fragments of the overall plan were realized: the Finlandia Hall concert hall (1976) fronting on Töölö Bay and an office building in the Kamppi district for the Helsinki Electricity Company (1975). Aalto also employed the Miesian formal language of geometric grids used in those buildings for other sites in Helsinki, including
1330-540: A student; a house for his parents at Alajärvi . Later, he continued his education, graduating in 1921. In the summer of 1922 he began military service, finishing at Hamina reserve officer training school, and was promoted to reserve second lieutenant in June 1923. In 1920, while a student, Aalto made his first trip abroad, travelling via Stockholm to Gothenburg , where he briefly found work with architect Arvid Bjerke. In 1922, he accomplished his first independent piece at
1400-640: A summer cottage, the so-called Experimental House , for himself and his second wife, now Elissa Aalto , in Muuratsalo in Central Finland. Alvar Aalto died on 11 May 1976, in Helsinki , and is buried in the Hietaniemi cemetery in Helsinki. Elissa Aalto became the director of the practice, running the office from 1976 to 1994. In 1978, the Museum of Finnish Architecture in Helsinki arranged
1470-581: Is a call for an architecture that technologically overcomes all previous architectures but possessing an expressive form, as Banham stated about neo-futuristic "Archigram's Plug-in Computerized City, form does not have to follow function into oblivion." Matthew Phillips defined the Neo-Futurist aesthetic as a "manipulation of time, space, and subject against a backdrop of technological innovation and domination, [that] posits new approaches to
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#17327837903081540-621: Is acclaimed for its stunning ceiling, with its undulating waves of red-hearted pine (which grows in the region ). In his roofing, he created massive spans (155-foot at the covered stadium at Otaniemi ), all without tie rods. In his stairway at Villa Mairea, he evokes the feeling of a natural forest by binding beech wood with withes into columns. Aalto claimed that his paintings were not made as individual artworks but as part of his process of architectural design, and many of his small-scale "sculptural" experiments with wood led to later larger architectural details and forms. These experiments also led to
1610-497: Is based on Twisting Torso , a white marble sculpture by Calatrava that was based on the form of a twisting human being. In 1999, HSB Malmö's former managing director, Johnny Örbäck , saw the sculpture in a brochure presenting Calatrava in connection with his contribution to the architectural competition for the Öresund Bridge . It was on this occasion that Örbäck was inspired to build HSB Turning Torso. Shortly afterwards he travelled to Zurich to meet Calatrava, and ask him to design
1680-484: Is considered in part an evolution out of high-tech architecture, developing many of the same themes and ideas. Although it was never built, the Fun Palace (1961), interpreted by architect Cedric Price as a "giant neo-futurist machine", influenced other architects, notably Richard Rogers and Renzo Piano , whose Centre Pompidou extended many of Price's ideas. Neo-futurism was in part revitalised in 2007 after
1750-518: Is epitomised by the Viipuri Library in Vyborg (1927–35), which went through a transformation from an originally classical competition entry proposal to the completed high-modernist building. His humanistic approach is in full evidence in the library: the interior displays natural materials, warm colours, and undulating lines. Due to problems related to financing, compounded by a change of site,
1820-504: Is required for a product workshop or special event. Aalto was also influential in bringing modern art to the attention of the Finnish people, in particular the work of his friends Alexander Milne Calder and Fernand Léger . As mentioned above, Aalto's international reputation was sealed with his inclusion in the second edition of Sigfried Giedion 's influential book on Modernist architecture, Space, Time and Architecture: The growth of
1890-407: Is with Aalto wherever he goes." During the 1930s Alvar spent some time experimenting with laminated wood, sculpture and abstract relief, characterized by irregular curved forms. Utilizing this knowledge, he was able to solve technical problems concerning the flexibility of wood while at the same time working out spatial issues in his designs. Aalto's early experiments with wood and his move away from
1960-786: The American Institute of Architects in 1963. He was elected a Foreign Honorary Member of the American Academy of Arts and Sciences in 1957. He also was a member of the Academy of Finland , and was its president from 1963 to 1968. From 1925 to 1956 he was a member of the Congrès International d'Architecture Moderne . In 1960 he received an honorary doctorate at the Norwegian University of Science and Technology (NTNU). Aalto's career spans
2030-707: The Artek company in 1935, ostensibly to sell Aalto products but which also imported pieces by other designers. Aalto became the first furniture designer to use the cantilever principle in chair designs using wood. Aalto's awards included the Prince Eugen Medal in 1954, the Royal Gold Medal for Architecture from the Royal Institute of British Architects in 1957 and the Gold Medal from
2100-688: The Enso-Gutzeit headquarters building (1962), the Academic Bookstore (1962), and the SYP Bank building (1969). Following Aalto's death in 1976, his office continued to operate under the direction of his widow Elissa, who oversaw the completion of works already designed (to some extent), among them the Jyväskylä City Theatre and Essen opera house . Since the death of Elissa Aalto, the office has continued to operate as
2170-574: The 99th anniversary of the publication of the Futurist manifesto by FT Marinetti in 1909. The collective's take on Neo-Futurism was much different to Di Bari's, in a sense that it focussed on acknowledging the legacy of the Italian Futurists as well as criticising our current state of despair over climate change and the financial system. On their introduction to their manifesto, The Neo-Futurist Collective noted: “In an age of mass despair over
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2240-588: The Alvar Aalto Academy, giving advice on the restoration of Aalto buildings and organizing the practice's vast archives. Although Aalto was famous for his architecture, his furniture designs were admired and are still popular today. He studied with the architect-designer Josef Hoffmann at the Wiener Werkstätte (engl.: "Vienna Workshop") and worked, for a time, under Eliel Saarinen . He also drew inspiration from Gebrüder Thonet . During
2310-1002: The Finnish Parliament building in 1923 and 1924, the extension to the University of Helsinki in 1931, and the building to house the League of Nations in Geneva, Switzerland, in 1926–27. Aalto's first church design to be completed, Muurame church , illustrates his transition from Nordic Classicism to Functionalism. This was the period when Aalto was most prolific in his writings, with articles for professional journals and newspapers. Among his most well-known essays from this period are "Urban culture" (1924), "Temple baths on Jyväskylä ridge" (1925), "Abbé Coignard's sermon" (1925), and "From doorstep to living room" (1926). The shift in Aalto's design approach from classicism to modernism
2380-730: The Industrial Exposition in Tampere . In 1923, he returned to Jyväskylä , where he opened an architectural office under the name 'Alvar Aalto, Architect and Monumental Artist'. At that time he wrote articles for the Jyväskylä newspaper Sisä-Suomi under the pseudonym Remus. During this time, he designed a number of small single-family houses in Jyväskylä, and the office's workload steadily increased. On 6 October 1924, Aalto married architect Aino Marsio . Their honeymoon in Italy
2450-781: The Jyväskylä Lyceum school, where he completed his basic education in 1916, and took drawing lessons from local artist Jonas Heiska . In 1916, he then enrolled to study architecture at the Helsinki University of Technology . His studies were interrupted by the Finnish Civil War , in which he fought. He fought on the side of the White Army and fought at the Battle of Länkipohja and the Battle of Tampere . He built his first piece of architecture while
2520-677: The Reconstruction Office. After the war, he returned to MIT, where he designed the student dormitory Baker House , completed in 1949. The dormitory flanked the Charles River , and its undulating form provided maximum view and ventilation for each resident. This was the first building of Aalto's redbrick period. Originally used in Baker House to signify the Ivy League university tradition, Aalto went on to use it in
2590-599: The Turku Fair of 1928–29. Aalto's biographer, Göran Schildt, claimed that Bryggman was the only architect with whom Aalto cooperated as an equal. With an increasing quantity of work in the Finnish capital, the Aaltos' office moved again in 1933 to Helsinki. The Aaltos designed and built a joint house-office (1935–36) for themselves in Munkkiniemi , Helsinki, but later (1954–56) had a purpose-built office erected in
2660-784: The Viipuri Library project lasted eight years. During that time, Aalto designed the Standard Apartment Building (1928–29) in Turku, the Turun Sanomat Building (1929–30), and the Paimio Sanatorium (1929–32), which he designed in collaboration with his first wife Aino Aalto . A number of factors contributed to Aalto's shift towards modernism: his increased familiarity with international trends, facilitated by his travels throughout Europe;
2730-561: The architect's "soft paternalism": "Conceived as a fragmented mass to break up the feeling of bureaucracy, it succeeds all too well in being humane and killing the pensioner with kindness. The forms are familiar – red brick and ribbon-strip windows broken by copper and bronze elements – all carried through with a literal-mindedness that borders on the soporific." During his lifetime, Aalto faced criticisms from his fellow architects in Finland, most notably Kirmo Mikkola and Juhani Pallasmaa . By
2800-537: The building. Construction costs for the building were over twice the initial budgeted costs. On 18 August 2006, Austrian skydiver Felix Baumgartner parachuted onto the Turning Torso, and then jumped off it. Floor 49 is home to the public observation deck while floors 50–52 contain a private club, meeting events, the reception, and the venue restaurant. Floor 53 and 54 in the Turning Torso are conference floors booked and managed by Sky High Meetings. Since 2009
2870-556: The changes in style from ( Nordic Classicism ) to purist International Style Modernism to a more personal, synthetic, and idiosyncratic Modernism. Aalto's wide field of design activity ranges from large-scale projects such as city planning and architecture to more intimate, human-scale work in interior design, furniture and glassware design, and painting. It has been estimated that during his entire career Aalto designed over 500 individual buildings, approximately 300 of which were built. The vast majority of them are in Finland. He also has
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2940-465: The company Artek that same year. Aalto glassware (Aino as well as Alvar) is manufactured by Iittala . Aalto's 'High Stool' and ' Stool E60 ' (manufactured by Artek ) are currently used in Apple Stores across the world to serve as seating for customers. Finished in black lacquer, the stools are used to seat customers at the 'Genius Bar' and also in other areas of the store at times when seating
3010-696: The decorations of the Festival hall modelled on the Rucellai Sepulchre in Florence by Leon Battista Alberti . After winning the architecture competition for the Southwest Finland Agricultural Cooperative building in 1927, the Aaltos moved their office to Turku . They had made contact with the city's most progressive architect, Erik Bryggman before moving. They began collaborating with him, most notably on
3080-797: The early 1960s and the late 1970s by Hal Foster, with architects such as William Pereira , Charles Luckman and Henning Larsen . The relaunch of neo-futurism in the 21st century has been creatively inspired by the Pritzker Architecture Prize -winning architect Zaha Hadid and architect Santiago Calatrava . Neo-futurist architects, designers and artists include people like Denis Laming [ fr ] , Patrick Jouin , Yuima Nakazato, artist Simon Stålenhag and artist Charis Tsevis . Neo-futurism has absorbed some high-tech architectural themes and ideas, incorporating elements of high-tech industry and technology іnto building design: Technology and context has been
3150-754: The early work, to a rational International Style Modernism during the 1930s to a more organic modernist style from the 1940s onwards. His architectural work, throughout his entire career, is characterized by a concern for design as Gesamtkunstwerk —a total work of art in which he, together with his first wife Aino Aalto , would design not only the building but the interior surfaces, furniture, lamps, and glassware as well. His furniture designs are considered Scandinavian Modern , an aesthetic reflected in their elegant simplification and concern for materials, especially wood, but also in Aalto's technical innovations, which led him to receiving patents for various manufacturing processes, such as those used to produce bent wood. As
3220-598: The edges by significant buildings such as the National Museum and the main railway station, both by Eliel Saarinen . In his town plan, Aalto proposed a line of separate marble-clad buildings fronting the bay, which would house various cultural institutions, including a concert hall, opera, museum of architecture, and headquarters for the Finnish Academy . The scheme also extended into the Kamppi district with
3290-413: The future contrary to those of past avant-gardes and current technocratic philosophies". This definition agrees with the work of Neo-Futurist architects whose approach is situated in the context of technological innovation, but does not mention the ecological mindfulness that stems from architectural Neo-Futurism. Neo-futurism was inspired partly by Futurist architect Antonio Sant'Elia and pioneered from
3360-413: The historical canon. The Italian Marxist architecture historians Manfredo Tafuri and Francesco Dal Co contend that Aalto's "historical significance has perhaps been rather exaggerated; with Aalto we are outside of the great themes that have made the course of contemporary architecture so dramatic. The qualities of his works have a meaning only as masterful distractions, not subject to reproduction outside
3430-554: The house is clearly intended for a wealthy family, Aalto nevertheless argued that it was also an experiment that would prove useful in the design of mass housing. His increased fame led to offers and commissions outside Finland. In 1941, he accepted an invitation as a visiting professor to the Massachusetts Institute of Technology in the US. During the Second World War , he returned to Finland to direct
3500-456: The last decade of Aalto's life, his work was seen as unfashionably individualistic at a time when the opposing tendencies of rationalism and constructivism – often championed under left-wing politics – argued for anonymous, aggressively non-aesthetic architecture. Of Aalto's late works, Mikkola wrote, "Aalto has moved to [a] baroque line..." Aalto has been commemorated in a number of ways: Göran Schildt has written and edited many books on Aalto,
3570-511: The late 1920s and 1930s, he worked closely with Aino Aalto on his furniture designs, a focus due in part to his decision to design many of the individual furniture pieces and lamps for the Paimio Sanatorium. Of particular significance was the Aaltos' experimentation in bent plywood chairs, most notably the so-called Paimio chair, designed for tuberculosis patients, and the Model 60 stacking stool . The Aaltos, together with visual arts promoter Maire Gullichsen and art historian Nils-Gustav Hahl, founded
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#17327837903083640-669: The movement has its origins in the mid-20th-century structural expressionist work of architects such as Alvar Aalto and Buckminster Fuller . Futurist architecture began in the 20th century starting with styles such as Art Deco and later with the Googie movement as well as high-tech architecture . Beginning in the late 1960s and early 1970s by architects such as Buckminster Fuller and John C. Portman Jr. ; architect and industrial designer Eero Saarinen , Archigram , an avant-garde architectural group ( Peter Cook , Warren Chalk , Ron Herron , Dennis Crompton , Michael Webb and David Greene , Jan Kaplický and others); it
3710-421: The notable works from this period is his 1960 memorial to the Battle of Suomussalmi . Located on the battlefield, it consists of a leaning bronze pillar on a pedestal. Foremost among Aalto's work from the early 1960s until his death in 1976 were his projects in Helsinki, in particular the huge town plan for the void in the centre of Helsinki adjacent to Töölö Bay and the vast railway yards , an area marked on
3780-467: The opportunity to experiment with concrete prefabrication in the Standard Apartment Building; the cutting-edge Le Corbusier -inspired formal language of the Turun Sanomat Building; and Aalto's application of both in the Paimio Sanatorium and in the ongoing design for the library. Although the Turun Sanomat Building and Paimio Sanatorium are comparatively pure modernist works, they carried the seeds of his questioning of such an orthodox modernist approach and
3850-416: The owner, HSB, has decided to let the public visit these floors but only on special scheduled days, and pre-booking is required. Neo-futurist Neo-futurism is a late-20th to early-21st-century movement in the arts , design, and architecture. Described as an avant-garde movement, as well as a futuristic rethinking of the thought behind aesthetics and functionality of design in growing cities,
3920-470: The publication of "The Neo-Futuristic City Manifesto" included in the candidature presented to the Bureau International des Expositions (BIE) and written by innovation designer Vito Di Bari (a former executive director at UNESCO ), to outline his vision for the city of Milan at the time of the Universal Expo 2015 . Di Bari defined his neo-futuristic vision as the "cross-pollination of art, cutting edge technologies and ethical values combined to create
3990-500: The remote reality [sic] in which they have their roots." At the heart of their critique was the perception of Aalto's work as unsuited to the urban context: "Essentially, his architecture is not appropriate to urban typologies." At the other end of the political spectrum (though similarly concerned with the appropriateness of Aalto's formal language), the American cultural theorist and architectural historian Charles Jencks singled out his Pensions Institute as an example of what he termed
4060-497: The same neighbourhood – now the former is a "home museum" and the latter the premises of the Alvar Aalto Academy. In 1926, the young Aaltos designed and had built for themselves a summer cottage in Alajärvi , Villa Flora. Aino and Alvar had two children, a daughter, Johanna "Hanni" (married surname Alanen; born 1925), and a son, Hamilkar Aalto (born 1928). Aino Aalto died of cancer in 1949. In 1952, Aalto married architect Elissa Mäkiniemi (died 1994). In 1952, he designed and built
4130-489: The state of the planet and the financial system, the futurist legacy of optimism for the power of technology uniting with the imagination of humanity has a powerful resonance for our modern age”. This shows an interpretation of Neo-Futurism that is more socially involved – one that speaks directly to its followers rather than denoting certain outlooks through actions (e.g. choice of eco-aware materials in Neo-Futurist architecture). Jean-Louis Cohen has defined neo-futurism as
4200-579: The style of Nordic Classicism. For example, the manor-like house for his mother's cousin Terho Manner in Töysa (1923), a summer villa for the Jyväskylä chief constable (also from 1923) and the Alatalo farmhouse in Tarvaala (1924). During this period he completed his first public buildings, the Jyväskylä Workers' Club in 1925, the Jyväskylä Defence Corps Building in 1926 and the Seinäjoki Civil Guard House building in 1924–29. He entered several architectural competitions for prestigious state public buildings, in Finland and abroad. This included two competitions for
4270-423: The tree whose trunk is architecture." Aalto's early career ran in parallel with the rapid economic growth and industrialization of Finland during the first half of the 20th century. Many of his clients were industrialists, among them the Ahlström-Gullichsen family , who became his patrons. The span of his career, from the 1920s to the 1970s, is reflected in the styles of his work, ranging from Nordic Classicism of
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#17327837903084340-446: The vertical placement of rough-hewn logs at his pavilion at the Lapua expo, a design element that evoked a medieval barricade. At the orchestra platform at Turku and the Paris expo at the World Fair, he used varying sizes and shapes of planks. Also at Paris (and at Villa Mairea ), he utilized birch boards in a vertical arrangement. His Vyborg Library , built in what was then Viipuri (it became Vyborg after Soviet annexation in 1944),
4410-430: The work of the main force driving the new modernism, Le Corbusier , visiting him in his Paris office several times in the following years. It was not until the completion of the Paimio Sanatorium (1932) and Viipuri Library (1935) that Aalto first achieved world attention in architecture. His reputation grew in the US following the invitation to hold a retrospective exhibition of his works at MOMA in New York in 1938. (This
4480-458: The world to receive the title after Telekom Tower in Malaysia . It was designed by Spanish architect, structural engineer, sculptor and painter Santiago Calatrava and officially opened on 27 August 2005. It reaches a height of 190 m (620 ft) with 54 stories and 147 apartments. Turning Torso won the 2005 Gold Emporis Skyscraper Award ; and in 2015, the 10 Year Award from the Council on Tall Buildings and Urban Habitat . Turning Torso
4550-417: Was Aalto's first trip there, though Aino had previously made a study trip there. The latter trip together sealed an intellectual bond with the culture of the Mediterranean region that remained important to Aalto for life. On their return they continued with several local projects, notably the Jyväskylä Worker's Club, which incorporated a number of motifs which they had studied during their trip, most notably
4620-399: Was a classical education and an approach to classical architecture that historians now call Nordic Classicism . It was a style that had been a reaction to the previous dominant style of National Romanticism before moving, in the late 1920s, towards Modernism. Upon returning to Jyväskylä in 1923 to establish his own architect's office, Aalto designed several single-family homes designed in
4690-427: Was featured on Discovery Channel Extreme Engineering TV programme which showed how a floor of the building was constructed. Prior to the construction of Turning Torso, the 86-metre (282 ft) Kronprinsen had been the city's tallest building. The apartments were initially supposed to be sold, but insufficient interest resulted in the apartments being let. The owner has several times unsuccessfully tried to sell
4760-470: Was his first visit to the States.) The exhibition, which later went on a 12-city tour of the country, was a landmark: Aalto was the second-ever architect – after Le Corbusier – to have a solo exhibition at the museum. His reputation grew in the US following the critical reception of his design for the Finnish Pavilion at the 1939 New York World's Fair , described by Frank Lloyd Wright as a "work of genius". It could be said that Aalto's international reputation
4830-492: Was sealed with his inclusion in the second edition of Sigfried Giedion's influential book on Modernist architecture, Space, Time, and Architecture: The growth of a new tradition (1949), in which Aalto received more attention than any other Modernist architect, including Le Corbusier . In his analysis of Aalto, Giedion gave primacy to qualities that depart from direct functionality, such as mood, atmosphere, intensity of life, and even national characteristics, declaring that "Finland
4900-430: Was to re-establish a recognisable skyline for Malmö since the removal in 2002 of the Kockums Crane , which was located less than one kilometre (0.6 mi) from Turning Torso. The local politicians deemed it important for the inhabitants to have a new symbol for Malmö in lieu of the crane that had been used for shipbuilding and somewhat symbolised the city's blue collar roots. The construction of part of this building
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