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Väinö Vähäkallio; 'Enso-Gutzeit Headquarters', 1937 in Enso, Finland. Wall Tapestry by Greta Skogster-Lehtinen.
A PH lamp with pleated paper shades in Poul Henningsen’s iconic three-shade form was featured in Modern Dansk Form in 1947. The design closely resembles the pleated paper table lamp prototype that still stands on the piano in Alvar Aalto’s Helsinki home on Riihite. The lamp was a gift from Henningsen during World War II, when the Danish designer was living in exile in Sweden. Wartime metal shortages forced Henningsen to experiment with alternative materials, such as paper and cloth, leading to a series of pleated paper lamps that departed from his usual metal constructions.
Henningsen collaborated with the shade maker Hjørdis Hersaa, who had experience producing lampshades for Le Klint. Henningsen designed the metal framework while Hersaa crafted the folded paper shades. The pictured model, measuring 76 cm in diameter, became one of the largest PH lamps ever produced. If they ever made into serial production remains unclear.
The Aalto house also once contained another pleated paper lamp, Le Klint 147, designed by Esben Klint in 1949, displaying Aalto's likeness for the Danish pleating technique, most likely obtained through Artek, which was a reseller of Le Klint lighting during the era.
1. Modern Dansk Form, 1957
2. PH Prototype at Aalto's House @alvaraaltofoundation
3. PH at Louis Poulsen & Co. HQ in 1964 in front of a drawing of the pleated paper lamp. @louispoulsen
4. Hjørdis Hersaa with the Lamp, via @scandinaviandesign101
5. Aalto House c. 1949
6. Detail of Le Klint 147 at Aalto House @le_klint_lighting
#poulhenningsen #phlamp #alvaraalto #leklint #artek
A PH lamp with pleated paper shades in Poul Henningsen’s iconic three-shade form was featured in Modern Dansk Form in 1947. The design closely resembles the pleated paper table lamp prototype that still stands on the piano in Alvar Aalto’s Helsinki home on Riihite. The lamp was a gift from Henningsen during World War II, when the Danish designer was living in exile in Sweden. Wartime metal shortages forced Henningsen to experiment with alternative materials, such as paper and cloth, leading to a series of pleated paper lamps that departed from his usual metal constructions.
Henningsen collaborated with the shade maker Hjørdis Hersaa, who had experience producing lampshades for Le Klint. Henningsen designed the metal framework while Hersaa crafted the folded paper shades. The pictured model, measuring 76 cm in diameter, became one of the largest PH lamps ever produced. If they ever made into serial production remains unclear.
The Aalto house also once contained another pleated paper lamp, Le Klint 147, designed by Esben Klint in 1949, displaying Aalto's likeness for the Danish pleating technique, most likely obtained through Artek, which was a reseller of Le Klint lighting during the era.
1. Modern Dansk Form, 1957
2. PH Prototype at Aalto's House @alvaraaltofoundation
3. PH at Louis Poulsen & Co. HQ in 1964 in front of a drawing of the pleated paper lamp. @louispoulsen
4. Hjørdis Hersaa with the Lamp, via @scandinaviandesign101
5. Aalto House c. 1949
6. Detail of Le Klint 147 at Aalto House @le_klint_lighting
#poulhenningsen #phlamp #alvaraalto #leklint #artek
A PH lamp with pleated paper shades in Poul Henningsen’s iconic three-shade form was featured in Modern Dansk Form in 1947. The design closely resembles the pleated paper table lamp prototype that still stands on the piano in Alvar Aalto’s Helsinki home on Riihite. The lamp was a gift from Henningsen during World War II, when the Danish designer was living in exile in Sweden. Wartime metal shortages forced Henningsen to experiment with alternative materials, such as paper and cloth, leading to a series of pleated paper lamps that departed from his usual metal constructions.
Henningsen collaborated with the shade maker Hjørdis Hersaa, who had experience producing lampshades for Le Klint. Henningsen designed the metal framework while Hersaa crafted the folded paper shades. The pictured model, measuring 76 cm in diameter, became one of the largest PH lamps ever produced. If they ever made into serial production remains unclear.
The Aalto house also once contained another pleated paper lamp, Le Klint 147, designed by Esben Klint in 1949, displaying Aalto's likeness for the Danish pleating technique, most likely obtained through Artek, which was a reseller of Le Klint lighting during the era.
1. Modern Dansk Form, 1957
2. PH Prototype at Aalto's House @alvaraaltofoundation
3. PH at Louis Poulsen & Co. HQ in 1964 in front of a drawing of the pleated paper lamp. @louispoulsen
4. Hjørdis Hersaa with the Lamp, via @scandinaviandesign101
5. Aalto House c. 1949
6. Detail of Le Klint 147 at Aalto House @le_klint_lighting
#poulhenningsen #phlamp #alvaraalto #leklint #artek
A PH lamp with pleated paper shades in Poul Henningsen’s iconic three-shade form was featured in Modern Dansk Form in 1947. The design closely resembles the pleated paper table lamp prototype that still stands on the piano in Alvar Aalto’s Helsinki home on Riihite. The lamp was a gift from Henningsen during World War II, when the Danish designer was living in exile in Sweden. Wartime metal shortages forced Henningsen to experiment with alternative materials, such as paper and cloth, leading to a series of pleated paper lamps that departed from his usual metal constructions.
Henningsen collaborated with the shade maker Hjørdis Hersaa, who had experience producing lampshades for Le Klint. Henningsen designed the metal framework while Hersaa crafted the folded paper shades. The pictured model, measuring 76 cm in diameter, became one of the largest PH lamps ever produced. If they ever made into serial production remains unclear.
The Aalto house also once contained another pleated paper lamp, Le Klint 147, designed by Esben Klint in 1949, displaying Aalto's likeness for the Danish pleating technique, most likely obtained through Artek, which was a reseller of Le Klint lighting during the era.
1. Modern Dansk Form, 1957
2. PH Prototype at Aalto's House @alvaraaltofoundation
3. PH at Louis Poulsen & Co. HQ in 1964 in front of a drawing of the pleated paper lamp. @louispoulsen
4. Hjørdis Hersaa with the Lamp, via @scandinaviandesign101
5. Aalto House c. 1949
6. Detail of Le Klint 147 at Aalto House @le_klint_lighting
#poulhenningsen #phlamp #alvaraalto #leklint #artek
A PH lamp with pleated paper shades in Poul Henningsen’s iconic three-shade form was featured in Modern Dansk Form in 1947. The design closely resembles the pleated paper table lamp prototype that still stands on the piano in Alvar Aalto’s Helsinki home on Riihite. The lamp was a gift from Henningsen during World War II, when the Danish designer was living in exile in Sweden. Wartime metal shortages forced Henningsen to experiment with alternative materials, such as paper and cloth, leading to a series of pleated paper lamps that departed from his usual metal constructions.
Henningsen collaborated with the shade maker Hjørdis Hersaa, who had experience producing lampshades for Le Klint. Henningsen designed the metal framework while Hersaa crafted the folded paper shades. The pictured model, measuring 76 cm in diameter, became one of the largest PH lamps ever produced. If they ever made into serial production remains unclear.
The Aalto house also once contained another pleated paper lamp, Le Klint 147, designed by Esben Klint in 1949, displaying Aalto's likeness for the Danish pleating technique, most likely obtained through Artek, which was a reseller of Le Klint lighting during the era.
1. Modern Dansk Form, 1957
2. PH Prototype at Aalto's House @alvaraaltofoundation
3. PH at Louis Poulsen & Co. HQ in 1964 in front of a drawing of the pleated paper lamp. @louispoulsen
4. Hjørdis Hersaa with the Lamp, via @scandinaviandesign101
5. Aalto House c. 1949
6. Detail of Le Klint 147 at Aalto House @le_klint_lighting
#poulhenningsen #phlamp #alvaraalto #leklint #artek
A PH lamp with pleated paper shades in Poul Henningsen’s iconic three-shade form was featured in Modern Dansk Form in 1947. The design closely resembles the pleated paper table lamp prototype that still stands on the piano in Alvar Aalto’s Helsinki home on Riihite. The lamp was a gift from Henningsen during World War II, when the Danish designer was living in exile in Sweden. Wartime metal shortages forced Henningsen to experiment with alternative materials, such as paper and cloth, leading to a series of pleated paper lamps that departed from his usual metal constructions.
Henningsen collaborated with the shade maker Hjørdis Hersaa, who had experience producing lampshades for Le Klint. Henningsen designed the metal framework while Hersaa crafted the folded paper shades. The pictured model, measuring 76 cm in diameter, became one of the largest PH lamps ever produced. If they ever made into serial production remains unclear.
The Aalto house also once contained another pleated paper lamp, Le Klint 147, designed by Esben Klint in 1949, displaying Aalto's likeness for the Danish pleating technique, most likely obtained through Artek, which was a reseller of Le Klint lighting during the era.
1. Modern Dansk Form, 1957
2. PH Prototype at Aalto's House @alvaraaltofoundation
3. PH at Louis Poulsen & Co. HQ in 1964 in front of a drawing of the pleated paper lamp. @louispoulsen
4. Hjørdis Hersaa with the Lamp, via @scandinaviandesign101
5. Aalto House c. 1949
6. Detail of Le Klint 147 at Aalto House @le_klint_lighting
#poulhenningsen #phlamp #alvaraalto #leklint #artek
Rilax Manor, Bromarv in Finland. Photgraphed by Solvi dos Santos for ’Maisons de la Baltique’, 2004. #solvidossantos
Rilax Manor, Bromarv in Finland. Photgraphed by Solvi dos Santos for ’Maisons de la Baltique’, 2004. #solvidossantos
Per Kirkeby’s sets and costume design for Peter Martins’ production of Tchaikovsky‘s ‘Swan Lake’ for the Royal Danish Ballet, 1996 and the New York City Ballet, 1999. #perkirkeby
Per Kirkeby’s sets and costume design for Peter Martins’ production of Tchaikovsky‘s ‘Swan Lake’ for the Royal Danish Ballet, 1996 and the New York City Ballet, 1999. #perkirkeby
Per Kirkeby’s sets and costume design for Peter Martins’ production of Tchaikovsky‘s ‘Swan Lake’ for the Royal Danish Ballet, 1996 and the New York City Ballet, 1999. #perkirkeby
Per Kirkeby’s sets and costume design for Peter Martins’ production of Tchaikovsky‘s ‘Swan Lake’ for the Royal Danish Ballet, 1996 and the New York City Ballet, 1999. #perkirkeby
Per Kirkeby’s sets and costume design for Peter Martins’ production of Tchaikovsky‘s ‘Swan Lake’ for the Royal Danish Ballet, 1996 and the New York City Ballet, 1999. #perkirkeby
“I needed chairs that had pedigree but were not ostentatious, but were comfortable, but were modest, but were glamorous, so I was asking a lot of these chairs.”
The chairs American Fashion designer Rick Owens describes are his dining chairs by Eliel Saarinen, which Owens keeps in his homes in Venice and Concordia, Italy.
The chairs were conceived around 1907 for the industrialist August Keirkner’s residence at Luotsikatu 1 in Helsinki. The building itself had been designed about ten years earlier by the architectural office Gesellius, Lindgren & Saarinen. After purchasing the property, Keirkner asked Saarinen to alter and design the interior of his apartment.
The chairs were made in green-stained oak and originally had red leather upholstered seats. Their backs are formed by two closely set vertical boards rising high above the seat, ending in a decorative headrest. On top of those, intarsia inlays of birch, ebony, and mahogany. Owens has described the headrest as resembling something “from Snow White.”
In 1916, construction began on a new residence for Keirkner in the Kaivopuisto district: Villa Keirkner, known as the “Marble Palace,” again designed by Saarinen.
Keirkner died in February 1918 before the house was completed. The villa was finished later that year, and his widow, Lydia Keirkner, moved in, bringing furniture from their earlier home in Helsinki, including the dining chairs.
The image of the widow moving into the palace brings to mind the phrase “There is a palace that opens only to tears” from Zohar, a foundational work of Kabbalistic literature, which Owens has used on many of his drkshdw line pieces. Keirkner was buried in the villa’s courtyard in a tomb designed by Gunnar Finne, which echoes the stone furniture and architectural forms central to Owens’s interiors.
Owen’s interest in Saarinen goes beyond being a custodian of the chairs. He has said that he has followed the architect since he was a teenager and considers him “an architectural hero.” Owens also keeps a copy of the book Eliel Saarinen by Albert Christ-Janer in each of his homes.
#rickowens #elielsaarinen
“I needed chairs that had pedigree but were not ostentatious, but were comfortable, but were modest, but were glamorous, so I was asking a lot of these chairs.”
The chairs American Fashion designer Rick Owens describes are his dining chairs by Eliel Saarinen, which Owens keeps in his homes in Venice and Concordia, Italy.
The chairs were conceived around 1907 for the industrialist August Keirkner’s residence at Luotsikatu 1 in Helsinki. The building itself had been designed about ten years earlier by the architectural office Gesellius, Lindgren & Saarinen. After purchasing the property, Keirkner asked Saarinen to alter and design the interior of his apartment.
The chairs were made in green-stained oak and originally had red leather upholstered seats. Their backs are formed by two closely set vertical boards rising high above the seat, ending in a decorative headrest. On top of those, intarsia inlays of birch, ebony, and mahogany. Owens has described the headrest as resembling something “from Snow White.”
In 1916, construction began on a new residence for Keirkner in the Kaivopuisto district: Villa Keirkner, known as the “Marble Palace,” again designed by Saarinen.
Keirkner died in February 1918 before the house was completed. The villa was finished later that year, and his widow, Lydia Keirkner, moved in, bringing furniture from their earlier home in Helsinki, including the dining chairs.
The image of the widow moving into the palace brings to mind the phrase “There is a palace that opens only to tears” from Zohar, a foundational work of Kabbalistic literature, which Owens has used on many of his drkshdw line pieces. Keirkner was buried in the villa’s courtyard in a tomb designed by Gunnar Finne, which echoes the stone furniture and architectural forms central to Owens’s interiors.
Owen’s interest in Saarinen goes beyond being a custodian of the chairs. He has said that he has followed the architect since he was a teenager and considers him “an architectural hero.” Owens also keeps a copy of the book Eliel Saarinen by Albert Christ-Janer in each of his homes.
#rickowens #elielsaarinen
“I needed chairs that had pedigree but were not ostentatious, but were comfortable, but were modest, but were glamorous, so I was asking a lot of these chairs.”
The chairs American Fashion designer Rick Owens describes are his dining chairs by Eliel Saarinen, which Owens keeps in his homes in Venice and Concordia, Italy.
The chairs were conceived around 1907 for the industrialist August Keirkner’s residence at Luotsikatu 1 in Helsinki. The building itself had been designed about ten years earlier by the architectural office Gesellius, Lindgren & Saarinen. After purchasing the property, Keirkner asked Saarinen to alter and design the interior of his apartment.
The chairs were made in green-stained oak and originally had red leather upholstered seats. Their backs are formed by two closely set vertical boards rising high above the seat, ending in a decorative headrest. On top of those, intarsia inlays of birch, ebony, and mahogany. Owens has described the headrest as resembling something “from Snow White.”
In 1916, construction began on a new residence for Keirkner in the Kaivopuisto district: Villa Keirkner, known as the “Marble Palace,” again designed by Saarinen.
Keirkner died in February 1918 before the house was completed. The villa was finished later that year, and his widow, Lydia Keirkner, moved in, bringing furniture from their earlier home in Helsinki, including the dining chairs.
The image of the widow moving into the palace brings to mind the phrase “There is a palace that opens only to tears” from Zohar, a foundational work of Kabbalistic literature, which Owens has used on many of his drkshdw line pieces. Keirkner was buried in the villa’s courtyard in a tomb designed by Gunnar Finne, which echoes the stone furniture and architectural forms central to Owens’s interiors.
Owen’s interest in Saarinen goes beyond being a custodian of the chairs. He has said that he has followed the architect since he was a teenager and considers him “an architectural hero.” Owens also keeps a copy of the book Eliel Saarinen by Albert Christ-Janer in each of his homes.
#rickowens #elielsaarinen
“I needed chairs that had pedigree but were not ostentatious, but were comfortable, but were modest, but were glamorous, so I was asking a lot of these chairs.”
The chairs American Fashion designer Rick Owens describes are his dining chairs by Eliel Saarinen, which Owens keeps in his homes in Venice and Concordia, Italy.
The chairs were conceived around 1907 for the industrialist August Keirkner’s residence at Luotsikatu 1 in Helsinki. The building itself had been designed about ten years earlier by the architectural office Gesellius, Lindgren & Saarinen. After purchasing the property, Keirkner asked Saarinen to alter and design the interior of his apartment.
The chairs were made in green-stained oak and originally had red leather upholstered seats. Their backs are formed by two closely set vertical boards rising high above the seat, ending in a decorative headrest. On top of those, intarsia inlays of birch, ebony, and mahogany. Owens has described the headrest as resembling something “from Snow White.”
In 1916, construction began on a new residence for Keirkner in the Kaivopuisto district: Villa Keirkner, known as the “Marble Palace,” again designed by Saarinen.
Keirkner died in February 1918 before the house was completed. The villa was finished later that year, and his widow, Lydia Keirkner, moved in, bringing furniture from their earlier home in Helsinki, including the dining chairs.
The image of the widow moving into the palace brings to mind the phrase “There is a palace that opens only to tears” from Zohar, a foundational work of Kabbalistic literature, which Owens has used on many of his drkshdw line pieces. Keirkner was buried in the villa’s courtyard in a tomb designed by Gunnar Finne, which echoes the stone furniture and architectural forms central to Owens’s interiors.
Owen’s interest in Saarinen goes beyond being a custodian of the chairs. He has said that he has followed the architect since he was a teenager and considers him “an architectural hero.” Owens also keeps a copy of the book Eliel Saarinen by Albert Christ-Janer in each of his homes.
#rickowens #elielsaarinen
“I needed chairs that had pedigree but were not ostentatious, but were comfortable, but were modest, but were glamorous, so I was asking a lot of these chairs.”
The chairs American Fashion designer Rick Owens describes are his dining chairs by Eliel Saarinen, which Owens keeps in his homes in Venice and Concordia, Italy.
The chairs were conceived around 1907 for the industrialist August Keirkner’s residence at Luotsikatu 1 in Helsinki. The building itself had been designed about ten years earlier by the architectural office Gesellius, Lindgren & Saarinen. After purchasing the property, Keirkner asked Saarinen to alter and design the interior of his apartment.
The chairs were made in green-stained oak and originally had red leather upholstered seats. Their backs are formed by two closely set vertical boards rising high above the seat, ending in a decorative headrest. On top of those, intarsia inlays of birch, ebony, and mahogany. Owens has described the headrest as resembling something “from Snow White.”
In 1916, construction began on a new residence for Keirkner in the Kaivopuisto district: Villa Keirkner, known as the “Marble Palace,” again designed by Saarinen.
Keirkner died in February 1918 before the house was completed. The villa was finished later that year, and his widow, Lydia Keirkner, moved in, bringing furniture from their earlier home in Helsinki, including the dining chairs.
The image of the widow moving into the palace brings to mind the phrase “There is a palace that opens only to tears” from Zohar, a foundational work of Kabbalistic literature, which Owens has used on many of his drkshdw line pieces. Keirkner was buried in the villa’s courtyard in a tomb designed by Gunnar Finne, which echoes the stone furniture and architectural forms central to Owens’s interiors.
Owen’s interest in Saarinen goes beyond being a custodian of the chairs. He has said that he has followed the architect since he was a teenager and considers him “an architectural hero.” Owens also keeps a copy of the book Eliel Saarinen by Albert Christ-Janer in each of his homes.
#rickowens #elielsaarinen
“I needed chairs that had pedigree but were not ostentatious, but were comfortable, but were modest, but were glamorous, so I was asking a lot of these chairs.”
The chairs American Fashion designer Rick Owens describes are his dining chairs by Eliel Saarinen, which Owens keeps in his homes in Venice and Concordia, Italy.
The chairs were conceived around 1907 for the industrialist August Keirkner’s residence at Luotsikatu 1 in Helsinki. The building itself had been designed about ten years earlier by the architectural office Gesellius, Lindgren & Saarinen. After purchasing the property, Keirkner asked Saarinen to alter and design the interior of his apartment.
The chairs were made in green-stained oak and originally had red leather upholstered seats. Their backs are formed by two closely set vertical boards rising high above the seat, ending in a decorative headrest. On top of those, intarsia inlays of birch, ebony, and mahogany. Owens has described the headrest as resembling something “from Snow White.”
In 1916, construction began on a new residence for Keirkner in the Kaivopuisto district: Villa Keirkner, known as the “Marble Palace,” again designed by Saarinen.
Keirkner died in February 1918 before the house was completed. The villa was finished later that year, and his widow, Lydia Keirkner, moved in, bringing furniture from their earlier home in Helsinki, including the dining chairs.
The image of the widow moving into the palace brings to mind the phrase “There is a palace that opens only to tears” from Zohar, a foundational work of Kabbalistic literature, which Owens has used on many of his drkshdw line pieces. Keirkner was buried in the villa’s courtyard in a tomb designed by Gunnar Finne, which echoes the stone furniture and architectural forms central to Owens’s interiors.
Owen’s interest in Saarinen goes beyond being a custodian of the chairs. He has said that he has followed the architect since he was a teenager and considers him “an architectural hero.” Owens also keeps a copy of the book Eliel Saarinen by Albert Christ-Janer in each of his homes.
#rickowens #elielsaarinen
“I needed chairs that had pedigree but were not ostentatious, but were comfortable, but were modest, but were glamorous, so I was asking a lot of these chairs.”
The chairs American Fashion designer Rick Owens describes are his dining chairs by Eliel Saarinen, which Owens keeps in his homes in Venice and Concordia, Italy.
The chairs were conceived around 1907 for the industrialist August Keirkner’s residence at Luotsikatu 1 in Helsinki. The building itself had been designed about ten years earlier by the architectural office Gesellius, Lindgren & Saarinen. After purchasing the property, Keirkner asked Saarinen to alter and design the interior of his apartment.
The chairs were made in green-stained oak and originally had red leather upholstered seats. Their backs are formed by two closely set vertical boards rising high above the seat, ending in a decorative headrest. On top of those, intarsia inlays of birch, ebony, and mahogany. Owens has described the headrest as resembling something “from Snow White.”
In 1916, construction began on a new residence for Keirkner in the Kaivopuisto district: Villa Keirkner, known as the “Marble Palace,” again designed by Saarinen.
Keirkner died in February 1918 before the house was completed. The villa was finished later that year, and his widow, Lydia Keirkner, moved in, bringing furniture from their earlier home in Helsinki, including the dining chairs.
The image of the widow moving into the palace brings to mind the phrase “There is a palace that opens only to tears” from Zohar, a foundational work of Kabbalistic literature, which Owens has used on many of his drkshdw line pieces. Keirkner was buried in the villa’s courtyard in a tomb designed by Gunnar Finne, which echoes the stone furniture and architectural forms central to Owens’s interiors.
Owen’s interest in Saarinen goes beyond being a custodian of the chairs. He has said that he has followed the architect since he was a teenager and considers him “an architectural hero.” Owens also keeps a copy of the book Eliel Saarinen by Albert Christ-Janer in each of his homes.
#rickowens #elielsaarinen
“I needed chairs that had pedigree but were not ostentatious, but were comfortable, but were modest, but were glamorous, so I was asking a lot of these chairs.”
The chairs American Fashion designer Rick Owens describes are his dining chairs by Eliel Saarinen, which Owens keeps in his homes in Venice and Concordia, Italy.
The chairs were conceived around 1907 for the industrialist August Keirkner’s residence at Luotsikatu 1 in Helsinki. The building itself had been designed about ten years earlier by the architectural office Gesellius, Lindgren & Saarinen. After purchasing the property, Keirkner asked Saarinen to alter and design the interior of his apartment.
The chairs were made in green-stained oak and originally had red leather upholstered seats. Their backs are formed by two closely set vertical boards rising high above the seat, ending in a decorative headrest. On top of those, intarsia inlays of birch, ebony, and mahogany. Owens has described the headrest as resembling something “from Snow White.”
In 1916, construction began on a new residence for Keirkner in the Kaivopuisto district: Villa Keirkner, known as the “Marble Palace,” again designed by Saarinen.
Keirkner died in February 1918 before the house was completed. The villa was finished later that year, and his widow, Lydia Keirkner, moved in, bringing furniture from their earlier home in Helsinki, including the dining chairs.
The image of the widow moving into the palace brings to mind the phrase “There is a palace that opens only to tears” from Zohar, a foundational work of Kabbalistic literature, which Owens has used on many of his drkshdw line pieces. Keirkner was buried in the villa’s courtyard in a tomb designed by Gunnar Finne, which echoes the stone furniture and architectural forms central to Owens’s interiors.
Owen’s interest in Saarinen goes beyond being a custodian of the chairs. He has said that he has followed the architect since he was a teenager and considers him “an architectural hero.” Owens also keeps a copy of the book Eliel Saarinen by Albert Christ-Janer in each of his homes.
#rickowens #elielsaarinen
“I needed chairs that had pedigree but were not ostentatious, but were comfortable, but were modest, but were glamorous, so I was asking a lot of these chairs.”
The chairs American Fashion designer Rick Owens describes are his dining chairs by Eliel Saarinen, which Owens keeps in his homes in Venice and Concordia, Italy.
The chairs were conceived around 1907 for the industrialist August Keirkner’s residence at Luotsikatu 1 in Helsinki. The building itself had been designed about ten years earlier by the architectural office Gesellius, Lindgren & Saarinen. After purchasing the property, Keirkner asked Saarinen to alter and design the interior of his apartment.
The chairs were made in green-stained oak and originally had red leather upholstered seats. Their backs are formed by two closely set vertical boards rising high above the seat, ending in a decorative headrest. On top of those, intarsia inlays of birch, ebony, and mahogany. Owens has described the headrest as resembling something “from Snow White.”
In 1916, construction began on a new residence for Keirkner in the Kaivopuisto district: Villa Keirkner, known as the “Marble Palace,” again designed by Saarinen.
Keirkner died in February 1918 before the house was completed. The villa was finished later that year, and his widow, Lydia Keirkner, moved in, bringing furniture from their earlier home in Helsinki, including the dining chairs.
The image of the widow moving into the palace brings to mind the phrase “There is a palace that opens only to tears” from Zohar, a foundational work of Kabbalistic literature, which Owens has used on many of his drkshdw line pieces. Keirkner was buried in the villa’s courtyard in a tomb designed by Gunnar Finne, which echoes the stone furniture and architectural forms central to Owens’s interiors.
Owen’s interest in Saarinen goes beyond being a custodian of the chairs. He has said that he has followed the architect since he was a teenager and considers him “an architectural hero.” Owens also keeps a copy of the book Eliel Saarinen by Albert Christ-Janer in each of his homes.
#rickowens #elielsaarinen
“In my opinion, it is wrong if a designer starts from the idea that they have a need to create. Instead, they must begin from needs that already exist and design objects that respond to them.”
— Anja Blomstedt interview with Helsingin Sanomat, 1970.
Finnish designer Anja Blomstedt grounded her work in the belief that design must begin with society rather than personal expression. For her, objects were never neutral. “Every object has a social dimension,” she argued, insisting that designers should respond to real human needs rather than produce forms driven purely by aesthetics.
This thinking shaped her work during the 1960s, when she worked for the French architect Georges Candilis, a Greek who had previously worked in Le Corbusier's office.
One of the few designs she created is the patented furniture system manufactured by Sentou for the Les Carrats holiday village in Port-Leucate. The project formed part of the French government’s Mission Racine, launched in 1963 to transform and revitalize the 180-kilometer coastline of Languedoc-Roussillon.
The Carrats complex consisted of cubic bungalows, roof terraces, patios, and collective buildings organized around shared spaces such as small squares and play areas. The architecture aimed to balance individual living with communal life.
Blomstedt’s furniture followed the same logic. Her series mirrored the simple geometry of the buildings: a streamlined structure with right-angled aluminum joints and minimal components. The modular system allowed variations for chairs, tables, and benches, emphasizing clarity, adaptability, and practicality rather than visual excess.
In Blomstedt’s vision, good design was not about standing out, but about working for everyone, which might be the strongest reason her work today has gone so unnoticed.
---
1. Exterior and Interior pictures of the project, via @citedelarchi and Anja Blomstedt / @centrepompidou
2. 1970 drawing by Henrik Tikkanen of a lounge chair situated at the Candilis office.
3. @piasa_auction
4. Exterior
5. Drawings of the project
6. Detail via @atelierjespers
7. @piasa_auction
“In my opinion, it is wrong if a designer starts from the idea that they have a need to create. Instead, they must begin from needs that already exist and design objects that respond to them.”
— Anja Blomstedt interview with Helsingin Sanomat, 1970.
Finnish designer Anja Blomstedt grounded her work in the belief that design must begin with society rather than personal expression. For her, objects were never neutral. “Every object has a social dimension,” she argued, insisting that designers should respond to real human needs rather than produce forms driven purely by aesthetics.
This thinking shaped her work during the 1960s, when she worked for the French architect Georges Candilis, a Greek who had previously worked in Le Corbusier's office.
One of the few designs she created is the patented furniture system manufactured by Sentou for the Les Carrats holiday village in Port-Leucate. The project formed part of the French government’s Mission Racine, launched in 1963 to transform and revitalize the 180-kilometer coastline of Languedoc-Roussillon.
The Carrats complex consisted of cubic bungalows, roof terraces, patios, and collective buildings organized around shared spaces such as small squares and play areas. The architecture aimed to balance individual living with communal life.
Blomstedt’s furniture followed the same logic. Her series mirrored the simple geometry of the buildings: a streamlined structure with right-angled aluminum joints and minimal components. The modular system allowed variations for chairs, tables, and benches, emphasizing clarity, adaptability, and practicality rather than visual excess.
In Blomstedt’s vision, good design was not about standing out, but about working for everyone, which might be the strongest reason her work today has gone so unnoticed.
---
1. Exterior and Interior pictures of the project, via @citedelarchi and Anja Blomstedt / @centrepompidou
2. 1970 drawing by Henrik Tikkanen of a lounge chair situated at the Candilis office.
3. @piasa_auction
4. Exterior
5. Drawings of the project
6. Detail via @atelierjespers
7. @piasa_auction
“In my opinion, it is wrong if a designer starts from the idea that they have a need to create. Instead, they must begin from needs that already exist and design objects that respond to them.”
— Anja Blomstedt interview with Helsingin Sanomat, 1970.
Finnish designer Anja Blomstedt grounded her work in the belief that design must begin with society rather than personal expression. For her, objects were never neutral. “Every object has a social dimension,” she argued, insisting that designers should respond to real human needs rather than produce forms driven purely by aesthetics.
This thinking shaped her work during the 1960s, when she worked for the French architect Georges Candilis, a Greek who had previously worked in Le Corbusier's office.
One of the few designs she created is the patented furniture system manufactured by Sentou for the Les Carrats holiday village in Port-Leucate. The project formed part of the French government’s Mission Racine, launched in 1963 to transform and revitalize the 180-kilometer coastline of Languedoc-Roussillon.
The Carrats complex consisted of cubic bungalows, roof terraces, patios, and collective buildings organized around shared spaces such as small squares and play areas. The architecture aimed to balance individual living with communal life.
Blomstedt’s furniture followed the same logic. Her series mirrored the simple geometry of the buildings: a streamlined structure with right-angled aluminum joints and minimal components. The modular system allowed variations for chairs, tables, and benches, emphasizing clarity, adaptability, and practicality rather than visual excess.
In Blomstedt’s vision, good design was not about standing out, but about working for everyone, which might be the strongest reason her work today has gone so unnoticed.
---
1. Exterior and Interior pictures of the project, via @citedelarchi and Anja Blomstedt / @centrepompidou
2. 1970 drawing by Henrik Tikkanen of a lounge chair situated at the Candilis office.
3. @piasa_auction
4. Exterior
5. Drawings of the project
6. Detail via @atelierjespers
7. @piasa_auction
“In my opinion, it is wrong if a designer starts from the idea that they have a need to create. Instead, they must begin from needs that already exist and design objects that respond to them.”
— Anja Blomstedt interview with Helsingin Sanomat, 1970.
Finnish designer Anja Blomstedt grounded her work in the belief that design must begin with society rather than personal expression. For her, objects were never neutral. “Every object has a social dimension,” she argued, insisting that designers should respond to real human needs rather than produce forms driven purely by aesthetics.
This thinking shaped her work during the 1960s, when she worked for the French architect Georges Candilis, a Greek who had previously worked in Le Corbusier's office.
One of the few designs she created is the patented furniture system manufactured by Sentou for the Les Carrats holiday village in Port-Leucate. The project formed part of the French government’s Mission Racine, launched in 1963 to transform and revitalize the 180-kilometer coastline of Languedoc-Roussillon.
The Carrats complex consisted of cubic bungalows, roof terraces, patios, and collective buildings organized around shared spaces such as small squares and play areas. The architecture aimed to balance individual living with communal life.
Blomstedt’s furniture followed the same logic. Her series mirrored the simple geometry of the buildings: a streamlined structure with right-angled aluminum joints and minimal components. The modular system allowed variations for chairs, tables, and benches, emphasizing clarity, adaptability, and practicality rather than visual excess.
In Blomstedt’s vision, good design was not about standing out, but about working for everyone, which might be the strongest reason her work today has gone so unnoticed.
---
1. Exterior and Interior pictures of the project, via @citedelarchi and Anja Blomstedt / @centrepompidou
2. 1970 drawing by Henrik Tikkanen of a lounge chair situated at the Candilis office.
3. @piasa_auction
4. Exterior
5. Drawings of the project
6. Detail via @atelierjespers
7. @piasa_auction
“In my opinion, it is wrong if a designer starts from the idea that they have a need to create. Instead, they must begin from needs that already exist and design objects that respond to them.”
— Anja Blomstedt interview with Helsingin Sanomat, 1970.
Finnish designer Anja Blomstedt grounded her work in the belief that design must begin with society rather than personal expression. For her, objects were never neutral. “Every object has a social dimension,” she argued, insisting that designers should respond to real human needs rather than produce forms driven purely by aesthetics.
This thinking shaped her work during the 1960s, when she worked for the French architect Georges Candilis, a Greek who had previously worked in Le Corbusier's office.
One of the few designs she created is the patented furniture system manufactured by Sentou for the Les Carrats holiday village in Port-Leucate. The project formed part of the French government’s Mission Racine, launched in 1963 to transform and revitalize the 180-kilometer coastline of Languedoc-Roussillon.
The Carrats complex consisted of cubic bungalows, roof terraces, patios, and collective buildings organized around shared spaces such as small squares and play areas. The architecture aimed to balance individual living with communal life.
Blomstedt’s furniture followed the same logic. Her series mirrored the simple geometry of the buildings: a streamlined structure with right-angled aluminum joints and minimal components. The modular system allowed variations for chairs, tables, and benches, emphasizing clarity, adaptability, and practicality rather than visual excess.
In Blomstedt’s vision, good design was not about standing out, but about working for everyone, which might be the strongest reason her work today has gone so unnoticed.
---
1. Exterior and Interior pictures of the project, via @citedelarchi and Anja Blomstedt / @centrepompidou
2. 1970 drawing by Henrik Tikkanen of a lounge chair situated at the Candilis office.
3. @piasa_auction
4. Exterior
5. Drawings of the project
6. Detail via @atelierjespers
7. @piasa_auction
“In my opinion, it is wrong if a designer starts from the idea that they have a need to create. Instead, they must begin from needs that already exist and design objects that respond to them.”
— Anja Blomstedt interview with Helsingin Sanomat, 1970.
Finnish designer Anja Blomstedt grounded her work in the belief that design must begin with society rather than personal expression. For her, objects were never neutral. “Every object has a social dimension,” she argued, insisting that designers should respond to real human needs rather than produce forms driven purely by aesthetics.
This thinking shaped her work during the 1960s, when she worked for the French architect Georges Candilis, a Greek who had previously worked in Le Corbusier's office.
One of the few designs she created is the patented furniture system manufactured by Sentou for the Les Carrats holiday village in Port-Leucate. The project formed part of the French government’s Mission Racine, launched in 1963 to transform and revitalize the 180-kilometer coastline of Languedoc-Roussillon.
The Carrats complex consisted of cubic bungalows, roof terraces, patios, and collective buildings organized around shared spaces such as small squares and play areas. The architecture aimed to balance individual living with communal life.
Blomstedt’s furniture followed the same logic. Her series mirrored the simple geometry of the buildings: a streamlined structure with right-angled aluminum joints and minimal components. The modular system allowed variations for chairs, tables, and benches, emphasizing clarity, adaptability, and practicality rather than visual excess.
In Blomstedt’s vision, good design was not about standing out, but about working for everyone, which might be the strongest reason her work today has gone so unnoticed.
---
1. Exterior and Interior pictures of the project, via @citedelarchi and Anja Blomstedt / @centrepompidou
2. 1970 drawing by Henrik Tikkanen of a lounge chair situated at the Candilis office.
3. @piasa_auction
4. Exterior
5. Drawings of the project
6. Detail via @atelierjespers
7. @piasa_auction
“In my opinion, it is wrong if a designer starts from the idea that they have a need to create. Instead, they must begin from needs that already exist and design objects that respond to them.”
— Anja Blomstedt interview with Helsingin Sanomat, 1970.
Finnish designer Anja Blomstedt grounded her work in the belief that design must begin with society rather than personal expression. For her, objects were never neutral. “Every object has a social dimension,” she argued, insisting that designers should respond to real human needs rather than produce forms driven purely by aesthetics.
This thinking shaped her work during the 1960s, when she worked for the French architect Georges Candilis, a Greek who had previously worked in Le Corbusier's office.
One of the few designs she created is the patented furniture system manufactured by Sentou for the Les Carrats holiday village in Port-Leucate. The project formed part of the French government’s Mission Racine, launched in 1963 to transform and revitalize the 180-kilometer coastline of Languedoc-Roussillon.
The Carrats complex consisted of cubic bungalows, roof terraces, patios, and collective buildings organized around shared spaces such as small squares and play areas. The architecture aimed to balance individual living with communal life.
Blomstedt’s furniture followed the same logic. Her series mirrored the simple geometry of the buildings: a streamlined structure with right-angled aluminum joints and minimal components. The modular system allowed variations for chairs, tables, and benches, emphasizing clarity, adaptability, and practicality rather than visual excess.
In Blomstedt’s vision, good design was not about standing out, but about working for everyone, which might be the strongest reason her work today has gone so unnoticed.
---
1. Exterior and Interior pictures of the project, via @citedelarchi and Anja Blomstedt / @centrepompidou
2. 1970 drawing by Henrik Tikkanen of a lounge chair situated at the Candilis office.
3. @piasa_auction
4. Exterior
5. Drawings of the project
6. Detail via @atelierjespers
7. @piasa_auction
While researching my writing for @samanamel on Isaac Grünewald’s scenography, I came across this stunning curtain by him. It was created in 1939 for the cinema Draken on Kungsholmen in Stockholm, which was designed by architect Ernst Grönvall. The curtain featured a dragon motif rendered in no fewer than 135 color shades and was crafted in silk and plush.
Measuring 25 meters in length and 8 meters in height, it was one of the largest appliqué works made in the country. Its production required 570 meters of fabric and 185 meters of lining.
The video shows Grünewald explaining the motif and inspiration during the construction of the cinema, unfortunately only in Swedish!
While researching my writing for @samanamel on Isaac Grünewald’s scenography, I came across this stunning curtain by him. It was created in 1939 for the cinema Draken on Kungsholmen in Stockholm, which was designed by architect Ernst Grönvall. The curtain featured a dragon motif rendered in no fewer than 135 color shades and was crafted in silk and plush.
Measuring 25 meters in length and 8 meters in height, it was one of the largest appliqué works made in the country. Its production required 570 meters of fabric and 185 meters of lining.
The video shows Grünewald explaining the motif and inspiration during the construction of the cinema, unfortunately only in Swedish!
While researching my writing for @samanamel on Isaac Grünewald’s scenography, I came across this stunning curtain by him. It was created in 1939 for the cinema Draken on Kungsholmen in Stockholm, which was designed by architect Ernst Grönvall. The curtain featured a dragon motif rendered in no fewer than 135 color shades and was crafted in silk and plush.
Measuring 25 meters in length and 8 meters in height, it was one of the largest appliqué works made in the country. Its production required 570 meters of fabric and 185 meters of lining.
The video shows Grünewald explaining the motif and inspiration during the construction of the cinema, unfortunately only in Swedish!
While researching my writing for @samanamel on Isaac Grünewald’s scenography, I came across this stunning curtain by him. It was created in 1939 for the cinema Draken on Kungsholmen in Stockholm, which was designed by architect Ernst Grönvall. The curtain featured a dragon motif rendered in no fewer than 135 color shades and was crafted in silk and plush.
Measuring 25 meters in length and 8 meters in height, it was one of the largest appliqué works made in the country. Its production required 570 meters of fabric and 185 meters of lining.
The video shows Grünewald explaining the motif and inspiration during the construction of the cinema, unfortunately only in Swedish!
Published in Kotitaide when he was just 19, Arttu Brummer’s winning designs for the 1910 Monogram competition organised by Friends of Finnish Handicraft. He later became a leading figure in Finnish applied arts and one of the most respected designers and teachers of his time. (Original version as second picture) #arttubrummer
Published in Kotitaide when he was just 19, Arttu Brummer’s winning designs for the 1910 Monogram competition organised by Friends of Finnish Handicraft. He later became a leading figure in Finnish applied arts and one of the most respected designers and teachers of his time. (Original version as second picture) #arttubrummer
This week, the Tove Jansson Gallery at HAM in Helsinki opens on a larger scale than before, now spanning three exhibition halls.
At the centre of the gallery are Jansson’s frescoes ‘Party in the City’ and ‘Party in the Countryside’ which remain permanently on display. The works were originally commissioned for Helsinki City Hall’s canteen and formal restaurant, Kaupunginkellari, which opened in 1947. At the time, it was common practice to integrate art into public buildings, and Jansson was invited to decorate the walls. The commission was initiated by Deputy Mayor Erik von Frenckell, father of Jansson’s friend, theatre director Vivica Bandler.
The interiors of Kaupunginkellari were designed by Lauri Pajamies, with furnishings by Lasse Ollinkari and lighting by Paavo Tynell. Ceramic artist Michael Schilkin designed a group of reliefs ‘Kauppatori’, and Yrjö Rosola created etched window panels. Together, these contributions reflect the collaborative approach to architecture, interiors, and art characteristic of Finnish design in the post-war period.
@hamhelsinki
@tovejanssonofficial
#tovejansson #paavotynell #lasseollinkari #yrjörosola
This week, the Tove Jansson Gallery at HAM in Helsinki opens on a larger scale than before, now spanning three exhibition halls.
At the centre of the gallery are Jansson’s frescoes ‘Party in the City’ and ‘Party in the Countryside’ which remain permanently on display. The works were originally commissioned for Helsinki City Hall’s canteen and formal restaurant, Kaupunginkellari, which opened in 1947. At the time, it was common practice to integrate art into public buildings, and Jansson was invited to decorate the walls. The commission was initiated by Deputy Mayor Erik von Frenckell, father of Jansson’s friend, theatre director Vivica Bandler.
The interiors of Kaupunginkellari were designed by Lauri Pajamies, with furnishings by Lasse Ollinkari and lighting by Paavo Tynell. Ceramic artist Michael Schilkin designed a group of reliefs ‘Kauppatori’, and Yrjö Rosola created etched window panels. Together, these contributions reflect the collaborative approach to architecture, interiors, and art characteristic of Finnish design in the post-war period.
@hamhelsinki
@tovejanssonofficial
#tovejansson #paavotynell #lasseollinkari #yrjörosola
This week, the Tove Jansson Gallery at HAM in Helsinki opens on a larger scale than before, now spanning three exhibition halls.
At the centre of the gallery are Jansson’s frescoes ‘Party in the City’ and ‘Party in the Countryside’ which remain permanently on display. The works were originally commissioned for Helsinki City Hall’s canteen and formal restaurant, Kaupunginkellari, which opened in 1947. At the time, it was common practice to integrate art into public buildings, and Jansson was invited to decorate the walls. The commission was initiated by Deputy Mayor Erik von Frenckell, father of Jansson’s friend, theatre director Vivica Bandler.
The interiors of Kaupunginkellari were designed by Lauri Pajamies, with furnishings by Lasse Ollinkari and lighting by Paavo Tynell. Ceramic artist Michael Schilkin designed a group of reliefs ‘Kauppatori’, and Yrjö Rosola created etched window panels. Together, these contributions reflect the collaborative approach to architecture, interiors, and art characteristic of Finnish design in the post-war period.
@hamhelsinki
@tovejanssonofficial
#tovejansson #paavotynell #lasseollinkari #yrjörosola
This week, the Tove Jansson Gallery at HAM in Helsinki opens on a larger scale than before, now spanning three exhibition halls.
At the centre of the gallery are Jansson’s frescoes ‘Party in the City’ and ‘Party in the Countryside’ which remain permanently on display. The works were originally commissioned for Helsinki City Hall’s canteen and formal restaurant, Kaupunginkellari, which opened in 1947. At the time, it was common practice to integrate art into public buildings, and Jansson was invited to decorate the walls. The commission was initiated by Deputy Mayor Erik von Frenckell, father of Jansson’s friend, theatre director Vivica Bandler.
The interiors of Kaupunginkellari were designed by Lauri Pajamies, with furnishings by Lasse Ollinkari and lighting by Paavo Tynell. Ceramic artist Michael Schilkin designed a group of reliefs ‘Kauppatori’, and Yrjö Rosola created etched window panels. Together, these contributions reflect the collaborative approach to architecture, interiors, and art characteristic of Finnish design in the post-war period.
@hamhelsinki
@tovejanssonofficial
#tovejansson #paavotynell #lasseollinkari #yrjörosola
This week, the Tove Jansson Gallery at HAM in Helsinki opens on a larger scale than before, now spanning three exhibition halls.
At the centre of the gallery are Jansson’s frescoes ‘Party in the City’ and ‘Party in the Countryside’ which remain permanently on display. The works were originally commissioned for Helsinki City Hall’s canteen and formal restaurant, Kaupunginkellari, which opened in 1947. At the time, it was common practice to integrate art into public buildings, and Jansson was invited to decorate the walls. The commission was initiated by Deputy Mayor Erik von Frenckell, father of Jansson’s friend, theatre director Vivica Bandler.
The interiors of Kaupunginkellari were designed by Lauri Pajamies, with furnishings by Lasse Ollinkari and lighting by Paavo Tynell. Ceramic artist Michael Schilkin designed a group of reliefs ‘Kauppatori’, and Yrjö Rosola created etched window panels. Together, these contributions reflect the collaborative approach to architecture, interiors, and art characteristic of Finnish design in the post-war period.
@hamhelsinki
@tovejanssonofficial
#tovejansson #paavotynell #lasseollinkari #yrjörosola
This week, the Tove Jansson Gallery at HAM in Helsinki opens on a larger scale than before, now spanning three exhibition halls.
At the centre of the gallery are Jansson’s frescoes ‘Party in the City’ and ‘Party in the Countryside’ which remain permanently on display. The works were originally commissioned for Helsinki City Hall’s canteen and formal restaurant, Kaupunginkellari, which opened in 1947. At the time, it was common practice to integrate art into public buildings, and Jansson was invited to decorate the walls. The commission was initiated by Deputy Mayor Erik von Frenckell, father of Jansson’s friend, theatre director Vivica Bandler.
The interiors of Kaupunginkellari were designed by Lauri Pajamies, with furnishings by Lasse Ollinkari and lighting by Paavo Tynell. Ceramic artist Michael Schilkin designed a group of reliefs ‘Kauppatori’, and Yrjö Rosola created etched window panels. Together, these contributions reflect the collaborative approach to architecture, interiors, and art characteristic of Finnish design in the post-war period.
@hamhelsinki
@tovejanssonofficial
#tovejansson #paavotynell #lasseollinkari #yrjörosola
This week, the Tove Jansson Gallery at HAM in Helsinki opens on a larger scale than before, now spanning three exhibition halls.
At the centre of the gallery are Jansson’s frescoes ‘Party in the City’ and ‘Party in the Countryside’ which remain permanently on display. The works were originally commissioned for Helsinki City Hall’s canteen and formal restaurant, Kaupunginkellari, which opened in 1947. At the time, it was common practice to integrate art into public buildings, and Jansson was invited to decorate the walls. The commission was initiated by Deputy Mayor Erik von Frenckell, father of Jansson’s friend, theatre director Vivica Bandler.
The interiors of Kaupunginkellari were designed by Lauri Pajamies, with furnishings by Lasse Ollinkari and lighting by Paavo Tynell. Ceramic artist Michael Schilkin designed a group of reliefs ‘Kauppatori’, and Yrjö Rosola created etched window panels. Together, these contributions reflect the collaborative approach to architecture, interiors, and art characteristic of Finnish design in the post-war period.
@hamhelsinki
@tovejanssonofficial
#tovejansson #paavotynell #lasseollinkari #yrjörosola
This week, the Tove Jansson Gallery at HAM in Helsinki opens on a larger scale than before, now spanning three exhibition halls.
At the centre of the gallery are Jansson’s frescoes ‘Party in the City’ and ‘Party in the Countryside’ which remain permanently on display. The works were originally commissioned for Helsinki City Hall’s canteen and formal restaurant, Kaupunginkellari, which opened in 1947. At the time, it was common practice to integrate art into public buildings, and Jansson was invited to decorate the walls. The commission was initiated by Deputy Mayor Erik von Frenckell, father of Jansson’s friend, theatre director Vivica Bandler.
The interiors of Kaupunginkellari were designed by Lauri Pajamies, with furnishings by Lasse Ollinkari and lighting by Paavo Tynell. Ceramic artist Michael Schilkin designed a group of reliefs ‘Kauppatori’, and Yrjö Rosola created etched window panels. Together, these contributions reflect the collaborative approach to architecture, interiors, and art characteristic of Finnish design in the post-war period.
@hamhelsinki
@tovejanssonofficial
#tovejansson #paavotynell #lasseollinkari #yrjörosola
This week, the Tove Jansson Gallery at HAM in Helsinki opens on a larger scale than before, now spanning three exhibition halls.
At the centre of the gallery are Jansson’s frescoes ‘Party in the City’ and ‘Party in the Countryside’ which remain permanently on display. The works were originally commissioned for Helsinki City Hall’s canteen and formal restaurant, Kaupunginkellari, which opened in 1947. At the time, it was common practice to integrate art into public buildings, and Jansson was invited to decorate the walls. The commission was initiated by Deputy Mayor Erik von Frenckell, father of Jansson’s friend, theatre director Vivica Bandler.
The interiors of Kaupunginkellari were designed by Lauri Pajamies, with furnishings by Lasse Ollinkari and lighting by Paavo Tynell. Ceramic artist Michael Schilkin designed a group of reliefs ‘Kauppatori’, and Yrjö Rosola created etched window panels. Together, these contributions reflect the collaborative approach to architecture, interiors, and art characteristic of Finnish design in the post-war period.
@hamhelsinki
@tovejanssonofficial
#tovejansson #paavotynell #lasseollinkari #yrjörosola
This week, the Tove Jansson Gallery at HAM in Helsinki opens on a larger scale than before, now spanning three exhibition halls.
At the centre of the gallery are Jansson’s frescoes ‘Party in the City’ and ‘Party in the Countryside’ which remain permanently on display. The works were originally commissioned for Helsinki City Hall’s canteen and formal restaurant, Kaupunginkellari, which opened in 1947. At the time, it was common practice to integrate art into public buildings, and Jansson was invited to decorate the walls. The commission was initiated by Deputy Mayor Erik von Frenckell, father of Jansson’s friend, theatre director Vivica Bandler.
The interiors of Kaupunginkellari were designed by Lauri Pajamies, with furnishings by Lasse Ollinkari and lighting by Paavo Tynell. Ceramic artist Michael Schilkin designed a group of reliefs ‘Kauppatori’, and Yrjö Rosola created etched window panels. Together, these contributions reflect the collaborative approach to architecture, interiors, and art characteristic of Finnish design in the post-war period.
@hamhelsinki
@tovejanssonofficial
#tovejansson #paavotynell #lasseollinkari #yrjörosola
This week, the Tove Jansson Gallery at HAM in Helsinki opens on a larger scale than before, now spanning three exhibition halls.
At the centre of the gallery are Jansson’s frescoes ‘Party in the City’ and ‘Party in the Countryside’ which remain permanently on display. The works were originally commissioned for Helsinki City Hall’s canteen and formal restaurant, Kaupunginkellari, which opened in 1947. At the time, it was common practice to integrate art into public buildings, and Jansson was invited to decorate the walls. The commission was initiated by Deputy Mayor Erik von Frenckell, father of Jansson’s friend, theatre director Vivica Bandler.
The interiors of Kaupunginkellari were designed by Lauri Pajamies, with furnishings by Lasse Ollinkari and lighting by Paavo Tynell. Ceramic artist Michael Schilkin designed a group of reliefs ‘Kauppatori’, and Yrjö Rosola created etched window panels. Together, these contributions reflect the collaborative approach to architecture, interiors, and art characteristic of Finnish design in the post-war period.
@hamhelsinki
@tovejanssonofficial
#tovejansson #paavotynell #lasseollinkari #yrjörosola
This week, the Tove Jansson Gallery at HAM in Helsinki opens on a larger scale than before, now spanning three exhibition halls.
At the centre of the gallery are Jansson’s frescoes ‘Party in the City’ and ‘Party in the Countryside’ which remain permanently on display. The works were originally commissioned for Helsinki City Hall’s canteen and formal restaurant, Kaupunginkellari, which opened in 1947. At the time, it was common practice to integrate art into public buildings, and Jansson was invited to decorate the walls. The commission was initiated by Deputy Mayor Erik von Frenckell, father of Jansson’s friend, theatre director Vivica Bandler.
The interiors of Kaupunginkellari were designed by Lauri Pajamies, with furnishings by Lasse Ollinkari and lighting by Paavo Tynell. Ceramic artist Michael Schilkin designed a group of reliefs ‘Kauppatori’, and Yrjö Rosola created etched window panels. Together, these contributions reflect the collaborative approach to architecture, interiors, and art characteristic of Finnish design in the post-war period.
@hamhelsinki
@tovejanssonofficial
#tovejansson #paavotynell #lasseollinkari #yrjörosola
This week, the Tove Jansson Gallery at HAM in Helsinki opens on a larger scale than before, now spanning three exhibition halls.
At the centre of the gallery are Jansson’s frescoes ‘Party in the City’ and ‘Party in the Countryside’ which remain permanently on display. The works were originally commissioned for Helsinki City Hall’s canteen and formal restaurant, Kaupunginkellari, which opened in 1947. At the time, it was common practice to integrate art into public buildings, and Jansson was invited to decorate the walls. The commission was initiated by Deputy Mayor Erik von Frenckell, father of Jansson’s friend, theatre director Vivica Bandler.
The interiors of Kaupunginkellari were designed by Lauri Pajamies, with furnishings by Lasse Ollinkari and lighting by Paavo Tynell. Ceramic artist Michael Schilkin designed a group of reliefs ‘Kauppatori’, and Yrjö Rosola created etched window panels. Together, these contributions reflect the collaborative approach to architecture, interiors, and art characteristic of Finnish design in the post-war period.
@hamhelsinki
@tovejanssonofficial
#tovejansson #paavotynell #lasseollinkari #yrjörosola
This week, the Tove Jansson Gallery at HAM in Helsinki opens on a larger scale than before, now spanning three exhibition halls.
At the centre of the gallery are Jansson’s frescoes ‘Party in the City’ and ‘Party in the Countryside’ which remain permanently on display. The works were originally commissioned for Helsinki City Hall’s canteen and formal restaurant, Kaupunginkellari, which opened in 1947. At the time, it was common practice to integrate art into public buildings, and Jansson was invited to decorate the walls. The commission was initiated by Deputy Mayor Erik von Frenckell, father of Jansson’s friend, theatre director Vivica Bandler.
The interiors of Kaupunginkellari were designed by Lauri Pajamies, with furnishings by Lasse Ollinkari and lighting by Paavo Tynell. Ceramic artist Michael Schilkin designed a group of reliefs ‘Kauppatori’, and Yrjö Rosola created etched window panels. Together, these contributions reflect the collaborative approach to architecture, interiors, and art characteristic of Finnish design in the post-war period.
@hamhelsinki
@tovejanssonofficial
#tovejansson #paavotynell #lasseollinkari #yrjörosola
This week, the Tove Jansson Gallery at HAM in Helsinki opens on a larger scale than before, now spanning three exhibition halls.
At the centre of the gallery are Jansson’s frescoes ‘Party in the City’ and ‘Party in the Countryside’ which remain permanently on display. The works were originally commissioned for Helsinki City Hall’s canteen and formal restaurant, Kaupunginkellari, which opened in 1947. At the time, it was common practice to integrate art into public buildings, and Jansson was invited to decorate the walls. The commission was initiated by Deputy Mayor Erik von Frenckell, father of Jansson’s friend, theatre director Vivica Bandler.
The interiors of Kaupunginkellari were designed by Lauri Pajamies, with furnishings by Lasse Ollinkari and lighting by Paavo Tynell. Ceramic artist Michael Schilkin designed a group of reliefs ‘Kauppatori’, and Yrjö Rosola created etched window panels. Together, these contributions reflect the collaborative approach to architecture, interiors, and art characteristic of Finnish design in the post-war period.
@hamhelsinki
@tovejanssonofficial
#tovejansson #paavotynell #lasseollinkari #yrjörosola
View Instagram Stories in Secret
The Instagram Story Viewer is an easy tool that lets you secretly watch and save Instagram stories, videos, photos, or IGTV. With this service, you can download content and enjoy it offline whenever you like. If you find something interesting on Instagram that you’d like to check out later or want to view stories while staying anonymous, our Viewer is perfect for you. Anonstories offers an excellent solution for keeping your identity hidden. Instagram first launched the Stories feature in August 2023, which was quickly adopted by other platforms due to its engaging, time-sensitive format. Stories let users share quick updates, whether photos, videos, or selfies, enhanced with text, emojis, or filters, and are visible for only 24 hours. This limited time frame creates high engagement compared to regular posts. In today’s world, Stories are one of the most popular ways to connect and communicate on social media. However, when you view a Story, the creator can see your name in their viewer list, which may be a privacy concern. What if you wish to browse Stories without being noticed? Here’s where Anonstories becomes useful. It allows you to watch public Instagram content without revealing your identity. Simply enter the username of the profile you’re curious about, and the tool will display their latest Stories. Features of Anonstories Viewer: - Anonymous Browsing: Watch Stories without showing up on the viewer list. - No Account Needed: View public content without signing up for an Instagram account. - Content Download: Save any Stories content directly to your device for offline use. - View Highlights: Access Instagram Highlights, even beyond the 24-hour window. - Repost Monitoring: Track the reposts or engagement levels on Stories for personal profiles. Limitations: - This tool works only with public accounts; private accounts remain inaccessible. Benefits: - Privacy-Friendly: Watch any Instagram content without being noticed. - Simple and Easy: No app installation or registration required. - Exclusive Tools: Download and manage content in ways Instagram doesn’t offer.
Advantages of Anonstories
Explore IG Stories Privately
Keep track of Instagram updates discreetly while protecting your privacy and staying anonymous.
Private Instagram Viewer
View profiles and photos anonymously with ease using the Private Profile Viewer.
Story Viewer for Free
This free tool allows you to view Instagram Stories anonymously, ensuring your activity remains hidden from the story uploader.
Frequently asked questions
Anonymity
Anonstories lets users view Instagram stories without alerting the creator.
Device Compatibility
Works seamlessly on iOS, Android, Windows, macOS, and modern browsers like Chrome and Safari.
Safety and Privacy
Prioritizes secure, anonymous browsing without requiring login credentials.
No Registration
Users can view public stories by simply entering a username—no account needed.
Supported Formats
Downloads photos (JPEG) and videos (MP4) with ease.
Cost
The service is free to use.
Private Accounts
Content from private accounts can only be accessed by followers.
File Usage
Files are for personal or educational use only and must comply with copyright rules.
How It Works
Enter a public username to view or download stories. The service generates direct links for saving content locally.