Abstract
Anything seemed possible within the spirit of the postwar era. It is often noted that Charles and Ray Eames advocated the principles of Modernism through the adaptation of innovation from wartime technology. Undoubtedly, Charles and Ray Eames were pioneers who gave shape to America’s 20th century through the pursuit of industrialization, including their influence in the process of prefabricated mass production and residential construction. Their lives and work are significant not only due to their innovative furniture but also because of the internationalization and global expansion of American culture through their contributions to architecture, film, and industrial and graphic design.

Keywords
Modern Movement, Modern architecture, Modern interior design, Furniture modern design, Modern living, Charles and Ray Eames, USA modern architecture, Prefabrication in architecture.

Issue 46
Year 2012
Pages 48-53
DOI: https://dx.doi.org/10.52200/46.A.GIECAHQ3

Abstract
Nowadays, the emphasis in the design of exposition pavilions is mainly full of pseudo–technical or rhetorical ideas of progress. Nevertheless most of them do not communicate a vision. They show a lack of spatial qualities and continuity with the built environment. In general, there is not a common conservation agenda to adapt or reuse exemplary Modern Pavilions. Some emblematic cases are haunted icons, a consequence of undocumented, incorrect or simply fake reconstruction, whilst others are victims of neglectfulness and degradation. Nevertheless, what can we still rediscover by reviving or reconstructing Modern Movement Exposition pavilions? During the 1930s, pavilions were not only visionary and experimental manifestations of living systems but were also temporary and fast–built showrooms disseminating a cultural or ideological message.

Keywords
Modern Movement, Modern architecture, Modern interior design, Furniture modern design, Modern living, Metsäpaviljonski, Alvar Aalto, Modern exposition pavilions, Finnish modern architecture, Wood architecture.

Issue 46
Year 2012
Pages 42-47
DOI: https://dx.doi.org/10.52200/46.A.E19KW0YB

Abstract
Artek was founded in November 1935. The name of the company, Art + Technology, reflects its objectives and methods of operation. The intention was to offer to its wide range of customers, practical, economical, hygienic and above all Modern furniture that reflected its own time. The furniture was to represent the values of an urban and efficient lifestyle. In the company’s founding meeting on 26.11.1935, Maire Gullichsen and Alvar Aalto became the main shareholders. Other shareholders were: Nils–Gustaf Hahl, Artek’s first managing director; P.W. Puhakka, the managing director of Huonekalu- ja Rakennustyötehdas, the company that produced the furniture designed by Aalto; Aino Marsio–Aalto; architect Aili–Salli Ahde; professor Carl Hahl; and architect Arne Ervi.

Keywords
Modern Movement, Modern architecture, Modern interior design, Furniture modern design, Modern living, Alvar Aalto, Artek, Finnish furniture design.

Issue 46
Year 2012
Pages 36-41
DOI: https://dx.doi.org/10.52200/46.A.1VT1MFZF

Abstract
When looking at the development of Modernism in Finnish furniture design from abroad the conventional image is Alvar Aalto´s Paimio chair descending in 1931 into a desert of traditionalism and starting a new, bright era of Modernity. This cliché is partly, but only partly true. In the following I will outline some major trends in design, use of materials and techniques of production in Finnish furniture before World War II.

Keywords
Modern Movement, Modern architecture, Modern interior design, Furniture modern design, Modern living, Finnish furniture design.

Issue 46
Year 2012
Pages 32-35
DOI: https://dx.doi.org/10.52200/46.A.JXXTSXNI

Abstract
Villa Tugendhat is an expression of “gesamtkunstwerk”, where every detail is subordinated to the whole. Mies van der Rohe devoted the same amount of attention to the furnishings of the house as to its design. The furniture designed and placed according to his conception is such an important aspect of the house that without it the Villa is only half complete. The system governing the organization of all parts of the building – ratios, proportions, whole areas and details – is visible also in the precise placement of the house contents, which only allowed the owner limited variability in the use of space. The Villa became world famous not long after its completion, but Fritz and Grete Tugendhat were not destined to spend many happy years there. Even before the Munich Pact had been signed, signifying the de facto end of democratic Czechoslovakia, they left Brno forever. At the end of the summer of 1938 two removal vans came to take part of the furnishings to St. Gallen in Switzerland. Today the main body of the original equipment is, except for several pieces, still in the possession of the family. The Villa was, after two years of general reconstruction, reopened to the public in February this year. For the first time since 1938 it was equipped with all the furnishings Mies van der Rohe had designed for it. The most significant event was the return after seventy years of the original curved wall of the dining area to its original location. This famous Makassar wall had been considered lost for many decades.

Keywords
Modern Movement, Modern architecture, Modern interior design, Furniture modern design, Modern living, Czech Republican modern architecture, Tugendhat House, Mies van der Rohe, Reconstruction and conservation.

Issue 46
Year 2012
Pages 26-31
DOI: https://dx.doi.org/10.52200/46.A.OAEXJPPM

Abstract
In his review of Franz Hessel’s "Spazieren in Berlin", Walter Benjamin noted that the author celebrated the "last monuments of an old culture […] for which cosiness came first", but whose time had come. The new architecture transferred "the domicile of men […] into a transit passage of all imaginable forces and waves in light and air. The future stands under the signature of transparency". Two years earlier, Siegfried Kracauer wrote about the exhibition of the Werkbund entitled "Die neue Wohnung" (The New Home) in 1927. Here, the attempt "to undermine the former isolation of the individual by dismantling the external partition walls" became evident. But perhaps "only the anonymous existence of the mass bound to capitalistic economy is granted a voice".

Keywords
Modern Movement, Modern architecture, Modern interior design, Furniture modern design, Modern living, Czech Republican modern architecture, Tugendhat House, Mies van der Rohe.

Issue 46
Year 2012
Pages 20-25
DOI: https://dx.doi.org/10.52200/46.A.F0FQWVA0

Abstract
Modern architecture and Modern furniture originated almost during the same period of time. Modern architects needed furniture compatible with their architecture and because it was not available on the market, architects had to design it themselves. This does not only apply for the period between 1920 and 1940, as other ambitious architectures had tried before to present their buildings as a unit both on the inside and on the outside. For example one can think of projects by Berlage, Gaudí, Mackintosh or Horta or the architectures of Czech Cubism and the Amsterdam School. This phenomenon originated in the 19th century and the furniture designs were usually developed for the architect’s own building designs and later offered to the broader consumer market, sometimes through specialized companies. This is the reason for which an agreement between the architect and the commissioner was needed, something which was not always taken for granted.

Keywords
Modern Movement, Modern architecture, Modern interior design, Furniture modern design, Modern living, Modern materials.

Issue 46
Year 2012
Pages 14-19
DOI: https://dx.doi.org/10.52200/46.A.9RK52TG1

Abstract
The growing interest in Modern furniture, which by now can also be of a respectable age, has lent a new dimension to the profession of furniture conservation. New materials and techniques demand new conservation solutions.

Keywords
Modern Movement, Modern architecture, Modern interior design, Furniture modern design, Modern living, Modern furniture conservation.

Issue 46
Year 2012
Pages 10-13
DOI: https://dx.doi.org/10.52200/46.A.3VGF0EOI

Abstract
Coming to design in a natural development from architectural practice, Le Corbusier considered design not as a sum or addition to architecture. Its existence decisively constructed and modulated interior space, as light and shadows, materials or planes. From that belief, he quests the perfect and ideal form that asserts itself as a model of universal validity, arriving at three different furniture types: type–needs, type–furniture and human limb objects. Consequently, together with Charlotte Perriand and Pierre Jeanneret, in 1928 he drew the prototype of the Grand Confort armchair, presented the following year at the Salon d’Automne in Paris.

Keywords
Modern Movement, Modern architecture, Modern interior design, Furniture modern design, Modern living, Modern design preservation.

Issue 46
Year 2012
Pages 6-9
DOI: https://dx.doi.org/10.52200/46.A.RNQ217BP