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The architecture of Finland has a notable history spanning over 800 years,^[1] and while up until the modern era the architecture was strongly influenced by currents from the land's two neighbouring countries, Sweden and Russia, in the modern era influences have come from worldwide, as when itinerant foreign architects worked there and the Finnish architect profession became established. However, Finnish architecture has also contributed significantly to several styles internationally, such as Jugenstil (or Art Nouveau), Nordic Classicism and Functionalism. In particular, the works of the country's most noted modernist architect Alvar Aalto, regarded as one of the major figures in the world history of modern architecture, has had significant worldwide influence.^[2] In an article from 1922 titled “Motifs from past ages”, Aalto discussed national and international influences in Finland, and as he saw it;

"Seeing how people in the past were able to be international and unprejudiced and yet remain true to themselves, we may accept impulses from old Italy, from Spain, and from the new America with open eyes. Our Finnish forefathers are still our masters."^[3]

In a 2000 review article of twentieth century Finnish architecture, Le Monde critic, Frédéric Edelmann suggested that Finland has more great architects of the status of Alvar Aalto in proportion to the population than any other country in the world.^[4] Finland's architectural achievements are related to modern architecture mostly because the current building stock has less than 20% that dates back to before 1955, which relates significantly to the reconstruction following World War II.^[5]

1249 is the date normally given for the beginning of Swedish rule over the land known as Finland (in Finnish, Suomi), and this rule continued until 1809, after which it was ceded to Russia under which it had a significant degree of autonomy as the Grand Duchy of Finland. Finland declared independence from Russia in 1917, at the time of the Russian Revolution. These historical factors have had a significant bearing on the history of architecture in Finland, along with issues of the founding of towns and the building of castles and fortresses (in the numerous wars between Sweden and Russia) and the availability of materials and craftsmanship. As an essentially forested region, timber was the natural building material, while the hardness of the local stone (predominantly granite) made it difficult to work, and the manufacture of brick was rare before the mid-19th century.^[6]

From early architecture to 1809 (including the Swedish colonial period)

The vernacular architecture of Finland is generally characterised by the predominant use of wooden construction, though often on a granite base foundation. However, the oldest known structure in use is the so-called kota, a hut or tent with a covering in fabric, peat moss or timber. The building type remained in use throughout Finland until the 19th century, and is still in use among the Sami people in Lapland.

The tradition of wood construction is evident in domestic farm buildings, as well as public buildings, including churches. The significant technical method that allowed its development was the corner joining technique of logs, which in Finland more commonly involved shaping logs with an axe to a square shape for a surer fit and better insulation, rather than using round logs. In later developments the log frame was then further covered in a layer of wooden planks. The balloon framing technique for timber construction popularized throughout North America only came to Finland in the 20th century.

The use of stone construction in Finland was initially limited to the few medieval castles in the country (e.g. Olavinlinna, Savonlinna, Turku, Vyborg). However, there was also a tradition of stone-built churches during the middle ages. The oldest preserved wooden churches in Finland date back to the 17th century (e.g. Sodankylä old church, Lapland, 1689), but the oldest stone church is the Church of St. Olaf in Jomala, Åland Islands, completed in 1260–1280. These stone churches are characterised by their massive walls, and with predominantly a single interior space. Small details, such as windows would sometimes be decorated with redbrick detailing. An exception among the churches was Turku Cathedral; it was originally built out of wood in the late 13th century, but was considerably expanded in the 14th and 15th centuries, mainly using stone but also brick as the construction material. The cathedral was badly damaged during the Great Fire of Turku in 1827, and was rebuilt to a great extent afterwards in brick.

During the middle ages there were only 6 towns in Finland (Turku, Porvoo, Naantali, Rauma, Ulvila and Vyborg), with wooden buildings growing organically around a stone church. The development in architecture went hand in hand with the founding of towns; mostly following a grid plan. Helsinki was founded in 1550, with regulations instructing buildings be constructed in stone, for "representational" reasons but also as a fire precaution - yet in practice the buildings continued to be built in timber. However, the development in Helsinki's architecture only came after 1748 with the construction of the Sveaborg fortress, with distinct Baroque architecture placed within an unsymmetrical fortification system, all built in stone and brick.

During the 17th century Sweden became a major political power in Europe, extending its territory into present day Estonia, Russia and Poland - and this expansiveness was reflected in its architecture. These architectural ambitions were realised to an extent in Finland, too, and markedly in the fortresses, of which Sveaborg in the next century was a pinnacle. However, already in the mid-16th century there were examples of importing refined Renaissance architecture principles to Finland. Duke John of Finland (later King John III of Sweden) built refined Renaissance interiors in the otherwise medieval Turku Castle. Louhisaari manor house, completed in 1655 (unknown architect, though probably designed by its builder-owner Herman Klasson Fleming) is a rare example in Finland of a Palladian-style country house.

The height of Sweden's political expansion was marked by the instigation by the crown of the publication Erik Dahlbergh's Suecia Antiqua et Hodierna (Ancient and Modern Sweden), published 1660-1716, containing over 400 carefully prepared engravings illustrating the monuments of the kingdom of Sweden. However, only 9 featured Finland, mostly coats of arms of the Finnish counties, and depicting them as wilderness areas, or as in the case of the image for "South Finland", a craftsman carving a classical column in a wilderness.

Early Grand Duchy period, 1809-1900 (Neoclassicism)

Even before the ceding of Finland to Russia in 1809, the advent of Neoclassicism in the mid-18th century arrived with French artist-architect Louis Jean Desprez, employed by the Swedish state, and who designed Hämeenlinna church in 1799. Another key itinerant architect was Charles (Carlo) Bassi an Italian architect also employed by the Swedish state, especially in the design of churches. After the transfer of power, Bassi remained in Finland, but his position of authority was soon taken by another itinerant architect, the German-born Carl Ludvig Engel, who became the most notable architect during the early period of the Grand Duchy of Finland.^[7] With the move of the Finnish capital from Turku to Helsinki, Engel had been appointed by Czar Alexander I to design the major new public buildings, including the major buildings around the Senate Square; the Senate church, Helsinki University buildings - including Engel's finest interior, Helsinki University Library (1836-45) - and Government buildings. All these buildings were designed following the dominant architectural style of the Russian capital, St. Petersburg, namely Neoclassicism - making Helsinki what was termed a St. Petersburg in miniature. In addition to his work in Helsinki, Engel was also appointed "state intendant" with responsibility for the design and supervision of construction of the vast majority of state buildings throughout the country, including tens of church designs, as well as the design and laying out of town plans. Among these works were the Pori Town Hall (1831) and Hamina Church (1843).

Helsinki Senate Square, designed by Carl Ludwig Engel. From the left: Helsinki University main building, Senate Church, Palace of the Council of State

Pohjola Insurance Building, Helsinki (1901), Gesellius, Lindgren, and Saarinen.

Late Grand Duchy period, 1900-1917 (Jugend)

At the end of the 19th century Finland continued to enjoy greater independence under Russia as a grand duchy; however, this would change with the coming to power of Czar Nicholas II in 1894, who introduced a greater process of "Russification". The reaction to this among the bourgeois classes was evident, too, in the arts, for instance in the music of Jean Sibelius and the artist Akseli Gallén-Kallela - but also in architecture. A distinct symbolic importance was given in 1900 to Finland receiving its own pavilion at the Paris World Expo, designed by young architects Herman Gesellius, Armas Lindgren and Eliel Saarinen in the so-called Jugendstil style (or Art Nouveau) then popular in Central Europe.

The Jugendstil style in Finland is characterised by flowing lines and the incorporation of nationalistic symbols - especially those taken from the national epic, Kalevala - mostly taken from nature and even medieval architecture, but also contemporary sources elsewhere in Europe and even the USA (e.g. H.H. Richardson and the Shingle Style).^[8] The more prominent buildings of the National Romantic style were built in stone, but the discovery in Finland of deposits of soapstone, an easily carved metamorphic rock, overcame the difficulty of using only hard granite; an example of this is the facade of the Pohjola Insurance Building, Helsinki (1901) by Gesellius, Lindgren, and Saarinen. The Jugendstil style became associated in Finland with the fight for national independence. The importance of nationalism also was made evident in the actual surveying of Finnish vernacular buildings: all architecture students at that time - at Finland's then only school of architecture, in Helsinki - became acquainted with the Finnish building heritage my measuring and drawing it. From the 1910s onwards, in addition to large medieval castles and churches also 17th and 18th century wooden churches and neoclassical wooden towns were surveyed - a practice which continues in the Finnish schools of architecture even today. The Jugendstil style was used most notably by Gesellius, Lindgren and Saarinen in key state buildings such as the National Museum and Helsinki Railway Station. Other notable architects employing the same style were Lars Sonck and Wivi Lönn, one of the first woman architects in Finland.

Roihuvuori housing area, Helsinki, Hilding Ekelund

Post-independence, 1917- (Modernism)

With Finland's independence achieved in 1917, there was a turn away from the Jugendstil style, which became associated with bourgeois culture. In turn there was a brief return to classicism, so-called Nordic Classicism, influenced to an extent by architect study trips to Italy, but also by key examples from Sweden, in particular the architecture of Gunnar Asplund. Notable Finnish architects from this period include J. S. Sirén and Gunnar Taucher, as well as the early work of Alvar Aalto, Erik Bryggman, Martti Välikangas, Hilding Ekelund and Pauli E. Blomstedt. The most notable large scale building from this period was the Finnish Parliament building (1931) by Sirén. Also of great social significance, however, was its employment in timber constructed workers' housing, most famously in the Puu Käpylä ("Wooden Käpylä") district of Helsinki (1920-25) by Martti Välikangas.

This period would be fairly brief, and there was also an interlude of continental rationalism in the works of Sigurd Frosterus, such as the Stockmann department store (1930) in Helsinki - but by the mid-1920s there was already a significant move towards Functionalism, inspired most significantly by French-Swiss architect Le Corbusier, but also from examples closer to hand, again Sweden, such as the Stockholm Exhibition (1930) by Asplund and Sigurd Lewerentz. The significant vehicle for the development of modernism in Finland was Alvar Aalto, who was a friend of Asplund as well as key Swedish architect Sven Markelius, who had invited him to join Congrès International d'Architecture Moderne (CIAM), ostensibly run by Le Corbusier. Aalto's reputation as a significant contributor to modernism was endorsed by his involvement in CIAM and by the inclusion of his works in significant architectural journals worldwide as well as significant histories of architecture, notably in the second edition (1949) of Space, Time and Architecture by the secretary-general of CIAM, Sigfried Giedion.^[9] Aalto's significant buildings from the early period of Modernism, which basically corresponded to the theoretical principles and architectural aeshetic of Le Corbusier and other modernist architects such as Walter Gropius, include the Turku Sanomat newspaper offices, Turku, Paimio Sanatorium (1932) and Viipuri Library (1927-35). Another key Finnish modernist architect from that period, who had also gone through Nordic Classicism, and who was briefly in partnership with Aalto - working together on the design of the Turku Fair of 1929 - was Erik Bryggman, chief among his own works being Resurrection Chapel (1941) in Turku. However, for Giedion the importance of Aalto led in his move away from high modernism, towards an organic architecture - and as Giedion saw it, the impulse for this lay in the natural formations of Finland. Though these "organic elements" were said to be visible already in these first projects, they became more apparent in Aalto's masterpiece house design, Villa Mairea (1937-39), in Noormarkku - designed for industrialist Harry Gullichsen and his industrialist-heiress wife Maire Gullichsen - the design for which it is felt took inspiration from Frank Lloyd Wright's Fallingwater (1936-39), in Pennsylvania, USA. Though even when designing a luxury villa, Aalto argued that he felt Villa Mairea would provide research fort building standardisation for social housing.^[10]

A major event that enabled Finland to display its modernist architecture credentials was the Helsinki Olympic Games, Key among the buildings was the Olympic Stadium by architects Yrjö Lindegren and Toivo Jäntti, the first version of which was the result of an architectural competition in 1938, intended for the games due to be held in 1940 (cancelled due to the war), but eventually held in an enlarged stadium in 1952. Other channels by which Functionalist architecture developed was by means of various state architecture offices, such as the military or through industry. A strong "white Functionalism" characterised the architecture of Erkki Huttunen, head of the building department of the retail cooperative Suomen Osuuskauppojen Keskuskunta (SOK).

Following World War Two, Finland ceded 11% of its territory and 30% of its economic assets to the Soviet Union as part of the Moscow Peace Treaty of 1940. Also 12% of Finland's population, including some 422,000 Karelians, were evacuated. The state response to this has become known as the period of reconstruction, with not only the repair of war damage (e.g. the destruction of the city of Rovaniemi by the retreating German army) but also the beginnings of greater urbanisation, the construction of new industries and power stations. For instance, architect Aarne Ervi was responsible for the design of five power stations along the Oulujoki river in the decade after the war, and Alvar Aalto designed several industrial complexes following the war, though in fact he had been heavily involved in designing projects of various sizes for Finnish industrial enterprises already since the 1930s.

The 1950s also marked the beginning not only of greater population migration to the cities but also state financed projects for social housing based on systems of standardisation and prefabricated element construction. A leader in the design of social housing was Hilding Ekelund - who had previously been responsible for the design of the athletes' village for the Olympic Games. A challenge to the traditional urbanisation process came, however, with the design of "forest towns", high-rise developments set in forested areas on the outskirts of the major cities, such as the Pihlajamäki suburb of Helsinki (1959-65), based on a town plan by Olli Kivinen, and building designs by Lauri Silvennoinen, the area comprising white Functionalist-style white 9-storey tower blocks and long up to 250 metre long 4-5-storey "lamella" blocks dispersed within a forest setting. Pihlajamäki was also one of the first precast concrete construction projects in Finland. The major example of the goal to set living within nature was Tapiola garden city, located in Espoo, promoted by its founder Heikki von Hertzen to encourage social mobility. The town planning for the garden city was made by Otto-Iivari Meurman, and with the key buildings of the town centre by Aarne Ervi.^[11]

The 1960s witnessed a reaction to the then still dominant position of Alvar Aalto in Finnish architecture, though some, most significantly Timo Penttilä and Viljo Revell, and brothers Timo and Tuomo Suomalainen developed their own interpretation of a non-rationalist modernist architecture. Taking architecture in an even more idiosyncratic organic line than Aalto was Reima Pietilä, while at the other end of the spectrum was a rationalist line epitomized in the works of Aarne Ervi, Aulis Blomstedt, Aarno Ruusuvuori, Kirmo Mikkola and Kristian Gullichsen and Helin & Siitonen Architects. Since the late 1970s Finland has been more open to direct international influences. For instance, the irony and playfulness of Postmodern architecture was greeted with disdain in Finland, though it would be incorrect to say it had no influence, for example through the works of Simo Paavilainen (influenced more by his scholarly interest in Nordic Classicism and Postmodernism's Italian rationalist interpretation) or the theoretical musings on place and phenomenology by Juhani Pallasmaa, as well as seeing how Aalto's architecture was used in defending the positions of both modernist and postmodernist schools of thought.^[12]

University of Vaasa, Simo and Käpy Paavilainen.

Kilden Performing Arts Centre, Kristiansand, ALA Architects (2012).

Of central importance in the development of architecture in Finland has been the development of architectural competitions, mostly under the control of the Finnish Association of Architects (SAFA), and occasionally won by young architects or even architecture students who have gone on to build careers on the basis of a reputation initiated with the competition win;^[13] these include notably the Finnish pavilion at the 1900 Paris World Expo by young architects Herman Gesellius, Armas Lindgren and Eliel Saarinen, Vyborg Library by Alvar Aalto, the Finnish pavilion at the 1958 Brussels World's Fair by Reima Pietilä, Myyrmäki church (1984) by Juha Leiviskä, the Embassy of Finland, Washington, D.C. (1994) by Heikkinen – Komonen Architects, the Kamppi Chapel (2010) in Helsinki by K2S Architects, the Kilden Performing Arts Centre (2012), Kristiansand, Norway, by ALA Architects, and the Museum of the History of Polish Jews (2013), in Warsaw, Poland, by Lahdelma & Mahlamäki Architects.

Influences abroad

Finnish architects, primarily Alvar Aalto, have had a significant influence outside Finland. Distinguished Portuguese architect Álvaro Siza Vieira,^[14] British architect Colin St John Wilson^[15] and American architects Richard Meier,^[16] Robert Venturi^[17] and Steven Holl^[18] have each expressed the influence of Aalto on their work. But before Aalto, the first significant event in direct influence was Eliel Saarinen emigrating to the USA in 1923 - after having received second prize in the Chicago Tribune Tower competition of 1922 - where he was responsible for the design of the campus for the Cranbrook Academy of Art, Michigan. Often dubbed as the "Architect of the American Century",^[19] Eero Saarinen (1910–61), although born in Finland, the son of Eliel Saarinen, was raised and educated mostly in the United States, and created significant pieces of architecture throughout the United States, from the TWA Flight Center at New York's Kennedy Airport to the Gateway Arch over St. Louis - the style of each building varying considerably depending on the context and design brief. In more recent times, of equal significance worldwide as actual buildings has been the architectural theory - and prolific amount of writing published in several different languages - by Finnish architect and theorist Juhani Pallasmaa, with such books as The Eyes of the Skin – Architecture and the Senses (2012) and The Thinking Hand,^[20] and Finnish architecture theorist Kari Jormakka, with such books as Heimlich Manoevres - Ritual in Architecture (1995) and Basic Design Methods (2007).^[21]

References

^ Richards, J.M. 800 Years of Finnish Architecture. London: David & Charles, 1978. ISBN 0-7153-7512-1
^ Alvar Aalto-thisisFINLAND
^ Alvar Aalto, "Motifs from past ages" (1922). Reproduced in Göran Schildt (ed), Alvar Aalto in His Own Words, Otava: Helsinki, 1997, p.35
^ Frédéric Edelman, article in Le Monde, Paris, September 19, 2000.
^ Constructing the Finnish welfare state since 1945
^ Riitta Nikula, Architecture and Landscape - The Building of Finland, Otava, Helsinki, 1993.
^ Helsinki's Senate Square- ThisisFINLAND
^ Kennth Frampton, Modern Architecture - A Critical History, Thames & Hudson, 2007 (4th edition).
^ Sigfried Giedion, Space, Time and Architecture: The Growth of a New Tradition, Harvard University Press, 2nd edition, 1949.
^ Juhani Pallasmaa, Alvar Aalto - Villa Mairea, 1938-39. Alvar Aalto Foundation, 1998.
^ Timo Tuomi, Tapiola; A History and Architectural Guide, Espoo City Museum, 1992.
^ Anni Vartola, The Aalto Card in the Conflict between Postmodernism and the Modernist Tradition in Finland, Alvar Aalto Museum, 2012.[1]
^ Roger Connah, Finland - Modern Architectures in History, Reaktion Books, 2005.
^ Alvaro Siza, Interview with Marja-Riitta Norri, 'Architecture and Cultural Values', 4th International Alvar Aalto Symposium, 1988, p.12.
^ Nicholas Ray, 'Sir Colin St John Wilson Obituary', The Guardian, 16 May 2007.
^ East Hampton Architect Richard Meier Marks 50 Years in Business
^ Venturi states: "Aalto is the Modernist I connect with the most". 'An interview with Robert Venturi', American Art of the 1960s, Vol.I, edited by John Elderfield, New York, 1991, p.158.
^ Gareth Griffiths, 'Steven Holl and His Critics', Ptah, Helsinki, 2006.
^ Eero Saarinen: Architect of the American Century
^ Juhani Pallasmaa, The Eyes of the Skin: Architecture and the Senses, John Wiley, 2012. The Thinking Hand, John Wiley, 2009.
^ Kari Jormakka, Basic Design Methods, Birkhauser, 2008. Heimlich Manoevres - Ritual in Architecture, Verso, 1995.

External links

Template:Link GA

[1] Richards, J.M. 800 Years of Finnish Architecture. London: David & Charles, 1978. ISBN 0-7153-7512-1

[2] Alvar Aalto-thisisFINLAND

[3] Alvar Aalto, "Motifs from past ages" (1922). Reproduced in Göran Schildt (ed), Alvar Aalto in His Own Words, Otava: Helsinki, 1997, p.35

[4] Frédéric Edelman, article in Le Monde, Paris, September 19, 2000.

[5] Constructing the Finnish welfare state since 1945

[6] Riitta Nikula, Architecture and Landscape - The Building of Finland, Otava, Helsinki, 1993.

[7] Helsinki's Senate Square- ThisisFINLAND

[8] Kennth Frampton, Modern Architecture - A Critical History, Thames & Hudson, 2007 (4th edition).

[9] Sigfried Giedion, Space, Time and Architecture: The Growth of a New Tradition, Harvard University Press, 2nd edition, 1949.

[10] Juhani Pallasmaa, Alvar Aalto - Villa Mairea, 1938-39. Alvar Aalto Foundation, 1998.

[11] Timo Tuomi, Tapiola; A History and Architectural Guide, Espoo City Museum, 1992.

[12] Anni Vartola, The Aalto Card in the Conflict between Postmodernism and the Modernist Tradition in Finland, Alvar Aalto Museum, 2012.[1]

[13] Roger Connah, Finland - Modern Architectures in History, Reaktion Books, 2005.

[14] Alvaro Siza, Interview with Marja-Riitta Norri, 'Architecture and Cultural Values', 4th International Alvar Aalto Symposium, 1988, p.12.

[15] Nicholas Ray, 'Sir Colin St John Wilson Obituary', The Guardian, 16 May 2007.

[16] East Hampton Architect Richard Meier Marks 50 Years in Business

[17] Venturi states: "Aalto is the Modernist I connect with the most". 'An interview with Robert Venturi', American Art of the 1960s, Vol.I, edited by John Elderfield, New York, 1991, p.158.

[18] Gareth Griffiths, 'Steven Holl and His Critics', Ptah, Helsinki, 2006.

[19] Eero Saarinen: Architect of the American Century

[20] Juhani Pallasmaa, The Eyes of the Skin: Architecture and the Senses, John Wiley, 2012. The Thinking Hand, John Wiley, 2009.

[21] Kari Jormakka, Basic Design Methods, Birkhauser, 2008. Heimlich Manoevres - Ritual in Architecture, Verso, 1995.

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@@ Line 5: / Line 5: @@
 [[Image:Tyrvään-vanha-kirkko.jpg|thumb|right|150px|St. Olaf's Church, Tyrvää.]]
-The [[architecture]] of [[Finland]] has a notable history spanning over 800 years,<ref>Richards, J.M. 800 Years of Finnish Architecture. London: David & Charles, 1978. ISBN 0-7153-7512-1</ref> and while up until the modern era the architecture was strongly influenced by currents from the nation's two neighbouring countries, Sweden and Russia, in the modern era influences have come from worldwide. However, Finnish architecture has also contributed significantly to several styles internationally, such as Jugenstil (or [[Art Nouveau]]), [[Nordic Classicism]] and [[Functionalism (architecture)|Functionalism]]. In particular, the works of the country's most noted modernist architect [[Alvar Aalto]], regarded as one of the major figures in the world history of modern architecture, has had significant worldwide influence.<ref>[http://finland.fi/public/default.aspx?contentid=160072&contentlan=2&culture=en-US Alvar Aalto-thisisFINLAND]</ref> In an article from 1922 titled “Motifs from past ages”, Aalto discussed national and international influences in Finland, and as he saw it; "Seeing how people in the past were able to be international and unprejudiced and yet remain true to themselves, we may accept impulses from old Italy, from Spain, and from the new America with open eyes. Our Finnish forefathers are still our masters."<ref>Alvar Aalto, "Motifs from past ages" (1922). Reproduced in Göran Schildt (ed), ''Alvar Aalto in His Own Words'', Otava: Helsinki, 1997, p.35</ref> In a 2000 review article of twentieth century Finnish architecture, [[Le Monde]] critic, Frédéric Edelmann suggested that Finland has more great architects of the status of Alvar Aalto in proportion to the population than any other country in the world.<ref>Frédéric Edelman, article in Le Monde, Paris, September 19, 2000.</ref> Finland's architectural achievements are related to modern architecture mostly because the current building stock has less than 20% that dates back to before 1955, which relates significantly to the reconstruction following [[World War II]].<ref>[http://www.nba.fi/en/cultural_environment/built_heritage/built_welfare_project/heritage_of_tomorrow Constructing the Finnish welfare state since 1945]</ref>
+The [[architecture]] of [[Finland]] has a notable history spanning over 800 years,<ref>Richards, J.M. 800 Years of Finnish Architecture. London: David & Charles, 1978. ISBN 0-7153-7512-1</ref> and while up until the modern era the architecture was strongly influenced by currents from the land's two neighbouring countries, Sweden and Russia, in the modern era influences have come from worldwide, as when itinerant foreign architects worked there and the Finnish architect profession became established. However, Finnish architecture has also contributed significantly to several styles internationally, such as Jugenstil (or [[Art Nouveau]]), [[Nordic Classicism]] and [[Functionalism (architecture)|Functionalism]]. In particular, the works of the country's most noted modernist architect [[Alvar Aalto]], regarded as one of the major figures in the world history of modern architecture, has had significant worldwide influence.<ref>[http://finland.fi/public/default.aspx?contentid=160072&contentlan=2&culture=en-US Alvar Aalto-thisisFINLAND]</ref> In an article from 1922 titled “Motifs from past ages”, Aalto discussed national and international influences in Finland, and as he saw it;
+{{quote|"Seeing how people in the past were able to be international and unprejudiced and yet remain true to themselves, we may accept impulses from old Italy, from Spain, and from the new America with open eyes. Our Finnish forefathers are still our masters."<ref>Alvar Aalto, "Motifs from past ages" (1922). Reproduced in Göran Schildt (ed), ''Alvar Aalto in His Own Words'', Otava: Helsinki, 1997, p.35</ref>}}
+In a 2000 review article of twentieth century Finnish architecture, [[Le Monde]] critic, Frédéric Edelmann suggested that Finland has more great architects of the status of Alvar Aalto in proportion to the population than any other country in the world.<ref>Frédéric Edelman, article in Le Monde, Paris, September 19, 2000.</ref> Finland's architectural achievements are related to modern architecture mostly because the current building stock has less than 20% that dates back to before 1955, which relates significantly to the reconstruction following [[World War II]].<ref>[http://www.nba.fi/en/cultural_environment/built_heritage/built_welfare_project/heritage_of_tomorrow Constructing the Finnish welfare state since 1945]</ref>
 is the date normally given for the beginning of Swedish rule over the land known as Finland (in Finnish, ''Suomi''), and this rule continued until 1809, after which it was ceded to Russia under which it had a significant degree of autonomy as the [[Grand Duchy of Finland]]. Finland declared independence from Russia in 1917, at the time of the [[Russian Revolution]]. These historical factors have had a significant bearing on the history of architecture in Finland, along with issues of the founding of towns and the building of castles and fortresses (in the numerous wars between Sweden and Russia) and the availability of materials and craftsmanship. As an essentially forested region, timber was the natural building material, while the hardness of the local stone (predominantly granite) made it difficult to work, and the manufacture of brick was rare before the mid-19th century.<ref>Riitta Nikula, ''Architecture and Landscape - The Building of Finland'', Otava, Helsinki, 1993.</ref>
@@ Line 30: / Line 34: @@
 ==Early Grand Duchy period, 1809-1900 (Neoclassicism)==
 Even before the ceding of Finland to Russia in 1809, the advent of [[Neoclassical architecture|Neoclassicism]] in the mid-18th century arrived with French artist-architect [[Louis Jean Desprez]], employed by the Swedish state, and who designed Hämeenlinna church in 1799. Another key itinerant architect was Charles (Carlo) Bassi an Italian  architect also employed by the Swedish state, especially in the design of churches. After the transfer of power, Bassi remained in Finland, but his position of authority was soon taken by another itinerant architect, the German-born [[Carl Ludvig Engel]], who became the most notable architect during the early period of the Grand Duchy of Finland.<ref>[http://finland.fi/public/default.aspx?contentid=160063&contentlan=2&culture=en-US  Helsinki's Senate Square- ThisisFINLAND]</ref> With the move of the Finnish capital from Turku to Helsinki, Engel had been appointed by [[Alexander I of Russia|Czar Alexander I]] to design the major new public buildings, including the major buildings around the [[Helsinki Senate Square|Senate Square]]; the Senate church, Helsinki University buildings - including Engel's finest interior, [[National Library of Finland|Helsinki University Library]] (1836-45) - and Government buildings. All these buildings were designed following the dominant architectural style of the Russian capital, [[Saint Petersburg|St. Petersburg]], namely [[Neoclassical architecture|Neoclassicism]] - making Helsinki what was termed a St. Petersburg in miniature. In addition to his work in Helsinki, Engel was also appointed "state intendant" with responsibility for the design and supervision of construction of the vast majority of state buildings throughout the country, including tens of church designs, as well as the design and laying out of town plans. Among these works were the [[Pori Old Town Hall|Pori Town Hall]] (1831) and Hamina Church (1843).
-{{Panorama|image=File:Senate Square - Senaatintori - Senatstorget, Helsinki, Finland.jpg|height=240|caption=Helsinki Senate Square, designed by Carl Ludwig Engel}}
+{{Panorama|image=File:Senate Square - Senaatintori - Senatstorget, Helsinki, Finland.jpg|height=240|caption=Helsinki Senate Square, designed by Carl Ludwig Engel. From the left: Helsinki University main building, Senate Church, [[Government Palace (Finland)|Palace of the Council of State]]}}
 [[File:Pohjola-talo.jpg|thumb|right|150px|Pohjola Insurance Building, Helsinki (1901), Gesellius, Lindgren, and Saarinen.]]
 [[File:Finnish Pavilion at Paris 1900.jpg|thumb|left|150px|Finnish Pavilion at Paris Expo 1900.]]
@@ Line 39: / Line 43: @@
 The Jugendstil style in Finland is characterised by flowing lines and the incorporation of nationalistic symbols - especially those taken from the national epic, [[Kalevala]] - mostly taken from nature and even [[medieval architecture]], but also contemporary sources elsewhere in Europe and even the USA (e.g. [[H.H. Richardson]] and the [[Shingle Style]]).<ref>Kennth Frampton, ''Modern Architecture - A Critical History'', Thames & Hudson, 2007 (4th edition).</ref> The more prominent buildings of the [[Romantic nationalism|National Romantic]] style were built in stone, but the discovery in Finland of deposits of [[soapstone]], an easily carved metamorphic rock, overcame the difficulty of using only hard granite; an example of this is the facade of the Pohjola Insurance Building, Helsinki (1901) by Gesellius, Lindgren, and Saarinen. The Jugendstil style became associated in Finland with the fight for national independence. The importance of nationalism also was made evident in the actual surveying of Finnish vernacular buildings: all architecture students at that time - at Finland's then only school of architecture, in Helsinki - became acquainted with the Finnish building heritage my measuring and drawing it. From the 1910s onwards, in addition to large medieval castles and churches also 17th and 18th century wooden churches and neoclassical wooden towns were surveyed - a practice which continues in the Finnish schools of architecture even today. The Jugendstil style was used most notably by Gesellius, Lindgren and Saarinen in key state buildings such as the National Museum and Helsinki Railway Station. Other notable architects employing the same style were [[Lars Sonck]] and Wivi Lönn, one of the first woman architects in Finland.
 [[Image:Parliament building Finland.jpg|thumb|left|150px|Finnish Parliament building by J.S. Sirén (1931)]]
+[[File:Puu Käpylä district Helsinki.jpg|thumb|right|150px|Puu-Käpylä workers' housing area Helsinki ((1920-25)]]
 [[File:Paimio Sanatorium2.jpg|thumb|left|150px|Paimio Sanatorium (1932) by Alvar Aalto]]
 [[Image:Finnish flag and Helsinki Olympic Stadion.jpg|thumb|right|150px|Helsinki Olympic Stadium by Lindegren and Jäntti (1938-50)]]
 [[Image:Villa Mairea.jpg|thumb|right|300px|Alvar Aalto, Villa Mairea, [[Noormarkku]] (1938-39)]]
 [[Image:Kansankatu 47 Oulu 2006 06 03.JPG|thumb|left|150px|Erkki Huttunen, SOK Head Offices, Oulu (1937–1938)]]
+[[File:Punahilkantie12.jpg|thumb|left|150px|Roihuvuori housing area, Helsinki, Hilding Ekelund]]
 ==Post-independence, 1917- (Modernism)==
-With Finland's independence achieved in 1917, there was a turn away from the Jugendstil style, which became associated with bourgeois culture. In turn there was a brief return to classicism, so-called [[Nordic Classicism]]. Notable Finnish architects from this period include [[J. S. Sirén]] and [[Gunnar Taucher]], as well as the early work of [[Alvar Aalto]], [[Erik Bryggman]], [[Martti Välikangas]], [[Hilding Ekelund]] and [[Pauli E. Blomstedt]]. The most notable large scale building from this period was the Finnish Parliament building (1931) by Sirén. Also of great social significance, however, was its employment in timber constructed workers' housing, most famously in the [[Käpylä|Puu Käpylä]] ("Wooden Käpylä") district of Helsinki (1920-25) by Martti Välikangas.
+With Finland's independence achieved in 1917, there was a turn away from the Jugendstil style, which became associated with bourgeois culture. In turn there was a brief return to classicism, so-called [[Nordic Classicism]], influenced to an extent by architect study trips to Italy, but also by key examples from Sweden, in particular the architecture of [[Gunnar Asplund]]. Notable Finnish architects from this period include [[J. S. Sirén]] and [[Gunnar Taucher]], as well as the early work of [[Alvar Aalto]], [[Erik Bryggman]], [[Martti Välikangas]], [[Hilding Ekelund]] and [[Pauli E. Blomstedt]]. The most notable large scale building from this period was the Finnish Parliament building (1931) by Sirén. Also of great social significance, however, was its employment in timber constructed workers' housing, most famously in the [[Käpylä|Puu Käpylä]] ("Wooden Käpylä") district of Helsinki (1920-25) by Martti Välikangas.
-This period would be fairly brief, and there was also an interlude of continental rationalism in the works of Sigurd Frosterus, such as the [[Stockmann, Helsinki centre|Stockmann department store]] (1930) in Helsinki - but by the mid-1920s there was already a significant move towards [[Functionalism (architecture)|Functionalism]], inspired most significantly by French-Swiss architect [[Le Corbusier]].  The significant vehicle for the development of modernism in Finland was Alvar Aalto. His reputation as a significant contributor to modernism was endorsed by his involvement in the [[Congrès International d'Architecture Moderne]] (CIAM) and by the inclusion of his works in significant architectural journals worldwide as well as significant histories of architecture, notably in the second edition (1949) of ''[[Space, Time and Architecture]]'' by the secretary-general of CIAM, [[Sigfried Giedion]].<ref>Sigfried Giedion, ''Space, Time and Architecture: The Growth of a New Tradition'', Harvard University Press, 2nd edition, 1949.</ref> Aalto's significant buildings from the early period of Modernism, which basically corresponded to the theoretical principles and aeshetic of Le Corbusier and other modernist architects such as Walter Gropius, include the Turku Sanomat newspaper offices, Turku, [[Paimio Sanatorium]] (1932) and [[Viipuri Library]] (1927-35). However, for Giedion the importance of Aalto led in his move away from high modernism, towards  an organic architecture - and as Giedion saw it, the impulse for this lay in the natural formations of Finland. Though these "organic elements" were said to be visible already in these first projects, they became more apparent in Aalto's masterpiece house design, [[Villa Mairea]] (1937-39), in [[Noormarkku]] - designed for industrialist Harry Gullichsen and his industrialist-heiress wife Maire Gullichsen - the design for which it is felt took inspiration from [[Frank Lloyd Wright]]'s [[Fallingwater]] (1936-39), in Pennsylvania, USA. Though even when designing a luxury villa, Aalto argued that he felt Villa Mairea would provide research fort building standardisation for social housing.<ref>Juhani Pallasmaa, ''Alvar Aalto - Villa Mairea, 1938-39''. Alvar Aalto Foundation, 1998.</ref>
+This period would be fairly brief, and there was also an interlude of continental rationalism in the works of Sigurd Frosterus, such as the [[Stockmann, Helsinki centre|Stockmann department store]] (1930) in Helsinki - but by the mid-1920s there was already a significant move towards [[Functionalism (architecture)|Functionalism]], inspired most significantly by French-Swiss architect [[Le Corbusier]], but also from examples closer to hand, again Sweden, such as the [[Stockholm Exhibition (1930)]] by Asplund and [[Sigurd Lewerentz]].  The significant vehicle for the development of modernism in Finland was Alvar Aalto, who was a friend of Asplund as well as key Swedish architect [[Sven Markelius]], who had invited him to join [[Congrès International d'Architecture Moderne]] (CIAM), ostensibly run by Le Corbusier. Aalto's reputation as a significant contributor to modernism was endorsed by his involvement in CIAM and by the inclusion of his works in significant architectural journals worldwide as well as significant histories of architecture, notably in the second edition (1949) of ''[[Space, Time and Architecture]]'' by the secretary-general of CIAM, [[Sigfried Giedion]].<ref>Sigfried Giedion, ''Space, Time and Architecture: The Growth of a New Tradition'', Harvard University Press, 2nd edition, 1949.</ref> Aalto's significant buildings from the early period of Modernism, which basically corresponded to the theoretical principles and architectural aeshetic of Le Corbusier and other modernist architects such as Walter Gropius, include the Turku Sanomat newspaper offices, Turku, [[Paimio Sanatorium]] (1932) and [[Viipuri Library]] (1927-35). Another key Finnish modernist architect from that period, who had also gone through Nordic Classicism, and who was briefly in partnership with Aalto - working together on the design of the Turku Fair of 1929 - was [[Erik Bryggman]], chief among his own works being Resurrection Chapel (1941) in Turku. However, for Giedion the importance of Aalto led in his move away from high modernism, towards  an organic architecture - and as Giedion saw it, the impulse for this lay in the natural formations of Finland. Though these "organic elements" were said to be visible already in these first projects, they became more apparent in Aalto's masterpiece house design, [[Villa Mairea]] (1937-39), in [[Noormarkku]] - designed for industrialist Harry Gullichsen and his industrialist-heiress wife Maire Gullichsen - the design for which it is felt took inspiration from [[Frank Lloyd Wright]]'s [[Fallingwater]] (1936-39), in Pennsylvania, USA. Though even when designing a luxury villa, Aalto argued that he felt Villa Mairea would provide research fort building standardisation for social housing.<ref>Juhani Pallasmaa, ''Alvar Aalto - Villa Mairea, 1938-39''. Alvar Aalto Foundation, 1998.</ref>
 A major event that enabled Finland to display its modernist architecture credentials was the Helsinki Olympic Games, Key among the buildings was the Olympic Stadium by architects [[Yrjö Lindegren]] and Toivo Jäntti, the first version of which was the result of an architectural competition in 1938, intended for the games due to be held in 1940 (cancelled due to the war), but eventually held in an enlarged stadium in 1952. Other channels by which Functionalist architecture developed was by means of various state architecture offices, such as the military or through industry. A strong "white Functionalism" characterised the architecture of Erkki Huttunen, head of the building department of the retail cooperative [[S Group|Suomen Osuuskauppojen Keskuskunta]] (SOK).
 Following World War Two, Finland ceded 11% of its territory and 30% of its economic assets to the Soviet Union as part of the [[Moscow Peace Treaty]] of 1940. Also 12% of Finland's population, including some 422,000 [[Karelia|Karelians]], were evacuated. The state response to this has become known as the period of reconstruction, with not only the repair of war damage (e.g. the destruction of the city of Rovaniemi by the retreating German army) but also the beginnings of greater urbanisation, the construction of new industries and power stations. For instance, architect [[Aarne Ervi]] was responsible for the design of five power stations along the [[Oulujoki]] river in the decade after the war, and Alvar Aalto designed several industrial complexes following the war, though in fact he had been heavily involved in designing projects of various sizes for Finnish industrial enterprises already since the 1930s.
-[[File:Punahilkantie12.jpg|thumb|left|150px|Roihuvuori housing area, Helsinki, Hilding Ekelund]]
 [[Image:Taskumattitaloja Tapiolassa.jpg|thumb|150px|right|High rise blocks, Tapiola, by [[Viljo Revell]].]]
 [[File:Pihlajamaki aerial.jpg|thumb|250px|left|[[Pihlajamäki]] housing area (1959-65), Olli Kivinen and Lauri Silvennoinen.]]
+[[Image:Helsinki luonnontiedelukio.jpg|thumb|right|150px|Former Paragon offices (1973), Helsinki, by Aarno Ruusuvuori.]]
-The 1950s also marked the beginning not only of greater population migration to the cities but also state financed projects for social housing based on systems of standardisation and prefabricated element construction. A leader in the design of social housing was [[Hilding Ekelund]] - who had previously been responsible for the design of the athletes' village for the Olympic Games. A challenge to the traditional urbanisation process came, however, with the design of "forest towns", high-rise developments set in forested areas on the outskirts of the major cities, such as the [[Pihlajamäki]] suburb of Helsinki (1959-65), based on a town plan by Olli Kivinen, and building designs by Lauri Silvennoinen, the area comprising white Functionalist-style white 9-storey tower blocks and long up to 250 metre long 4-5-storey "lamella" blocks dispersed within a forest setting. Pihlajamäki was also one of the first precast concrete construction projects in Finland. The major example of the goal to set living within nature was [[Tapiola]] garden city, located in Espoo, promoted by its founder Heikki von Hertzen to encourage social mobility. The town planning for the garden city was made by [[Otto-Iivari Meurman]], and with the key buildings of the town centre by [[Aarne Ervi]].<ref>Timo Tuomi, ''Tapiola; A History and Architectural Guide'', Espoo City Museum, 1992.</ref>
-[[Image:Helsinki luonnontiedelukio.jpg|thumb|left|150px|Former Paragon offices (1973), Helsinki, by Aarno Ruusuvuori.]]
 [[Image:Metso 4.JPG|thumb|150px|'Metso' Tampere City Library, [[Reima and Raili Pietilä]] (1978-86).]]
+The 1950s also marked the beginning not only of greater population migration to the cities but also state financed projects for social housing based on systems of standardisation and prefabricated element construction. A leader in the design of social housing was [[Hilding Ekelund]] - who had previously been responsible for the design of the athletes' village for the Olympic Games. A challenge to the traditional urbanisation process came, however, with the design of "forest towns", high-rise developments set in forested areas on the outskirts of the major cities, such as the [[Pihlajamäki]] suburb of Helsinki (1959-65), based on a town plan by Olli Kivinen, and building designs by Lauri Silvennoinen, the area comprising white Functionalist-style white 9-storey tower blocks and long up to 250 metre long 4-5-storey "lamella" blocks dispersed within a forest setting. Pihlajamäki was also one of the first precast concrete construction projects in Finland. The major example of the goal to set living within nature was [[Tapiola]] garden city, located in Espoo, promoted by its founder Heikki von Hertzen to encourage social mobility. The town planning for the garden city was made by [[Otto-Iivari Meurman]], and with the key buildings of the town centre by [[Aarne Ervi]].<ref>Timo Tuomi, ''Tapiola; A History and Architectural Guide'', Espoo City Museum, 1992.</ref>
 The 1960s witnessed a reaction to the then still dominant position of Alvar Aalto in Finnish architecture, though some, most significantly [[Timo Penttilä]] and [[Viljo Revell]], and brothers [[Temppeliaukio Church|Timo and Tuomo Suomalainen]] developed their own interpretation of a non-rationalist modernist architecture. Taking architecture in an even more idiosyncratic organic line than Aalto was [[Reima and Raili Pietilä|Reima Pietilä]], while at the other end of the spectrum was a rationalist line epitomized in the works of [[Aarne Ervi]], Aulis Blomstedt, [[Aarno Ruusuvuori]], Kirmo Mikkola and [[Kristian Gullichsen]] and Helin & Siitonen Architects. Since the late 1970s Finland has been more open to direct international influences. For instance, the irony and playfulness of [[Postmodern architecture]] was greeted with disdain in Finland, though it would be incorrect to say it had no influence, for example through the works of [[Simo Paavilainen]] (influenced more by his scholarly interest in [[Nordic Classicism]] and Postmodernism's [[Rationalism (architecture)|Italian rationalist]] interpretation) or the theoretical musings on place and [[Phenomenology (architecture)|phenomenology]] by [[Juhani Pallasmaa]], as well as seeing how Aalto's architecture was used in defending the positions of both modernist and postmodernist schools of thought.<ref>Anni Vartola, ''The Aalto Card in the Conflict  between Postmodernism and the  Modernist Tradition in Finland'', Alvar Aalto Museum, 2012.[http://www.alvaraaltoresearch.fi/files/8913/6145/9479/AAM_RN_Vartola.pdf]</ref>
 [[File:Myyrmäki church 5.jpg|thumb|left|150px|Myyrmäki church (1984), Juha Leiviskä]]
 [[Image:VaasanYliopisto.jpg|thumb|right|150px|University of Vaasa, Simo and Käpy Paavilainen.]]
-[[Image:Kilden-Kristiansand.JPG|thumb|left|150px|[[Kilden Performing Arts Centre]], Kristiansand, ALA Architects (2012).]]
+[[Image:Kilden-Kristiansand.JPG|thumb|right|150px|[[Kilden Performing Arts Centre]], Kristiansand, ALA Architects (2012).]]
 [[Image:Museum of the History of Polish Jews, exterior, 2013.jpg|thumb|right|150px|Museum of the History of Polish Jews (2013), Lahdelma & Mahlamäki.]]
 Of central importance in the development of architecture in Finland has been the development of architectural competitions, mostly under the control of the [[SAFA (architecture)|Finnish Association of Architects (SAFA)]], and occasionally won by young architects or even architecture students who have gone on to build careers on the basis of a reputation initiated with the competition win;<ref>Roger Connah, ''Finland - Modern Architectures in History'', Reaktion Books, 2005.</ref> these include notably the Finnish pavilion at the 1900 [[Exposition Universelle (1900)|Paris World Expo]] by young architects [[Gesellius, Lindgren, and Saarinen|Herman Gesellius, Armas Lindgren and Eliel Saarinen]], Vyborg Library by Alvar Aalto, the Finnish pavilion at the 1958 [[Expo 58|Brussels World's Fair]] by Reima Pietilä, Myyrmäki church (1984) by [[Juha Leiviskä]], the [[Embassy of Finland, Washington, D.C.]] (1994) by [[Heikkinen – Komonen Architects]], the [[Kamppi Chapel]] (2010) in Helsinki by K2S Architects, the [[Kilden Performing Arts Centre]] (2012), Kristiansand, Norway, by ALA Architects, and the [[Museum of the History of Polish Jews]] (2013), in [[Warsaw]], [[Poland]], by [[Rainer Mahlamäki|Lahdelma & Mahlamäki Architects]].

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