LarsSonck: the Architect of the Church The committee responsible for evaluating the designs for the new church consisted of three architects from Helsinki, and an engineer as well as minister K.O Fontell from Tampere.
Sonck was an exceptionally talented architect, for he was only 31 years old when he designed a church this masterpiece.
LarsSonck, Hugo Simberg and Magnus Enckell, along with all the other people who contributed to the rise of the church, have created a truly wonderful monument of Finnish art for the rest of us to admire, cherish and be inspired by.
I had come to Aland to stay with my friends Gun (pronounced goon) and Lars, to relax in their 19th-century farmhouse and roam around Mellangard, their farm.
We admired the view over pines, rocks and water from the cannons at Bomarsund, a fortress built by the Russians in the early 19th century and destroyed by the Anglo-French forces during the Crimean War.
Tables that Lars made from stones from the farm's old windmill stood on the flower-dotted grass.
Eiran sairaala 1905-1931 – LarsSonck vuosisadan vaihteen
The Eira hospital blends in with the adjacent villa area, which the designer of the hospital LarsSonck collaborated in planning and which eventually took its name from the hospital.
Quoique LarsSonck soit considéré comme tête de file du mouvement romantique finlandais du début du 20e siècle, l'hôpital de Eira est plutôt proche du Jugen Style (Art Nouveau) en vogue à l'époque en Europe.
ECONOMY: New age in the old Stock Exchange Building(Site not responding. Last check: 2007-11-07)
At the end of 1997 the Helsinki Stock Exchange and the derivatives exchange (SOM) fused to form a larger entity with even better prospects of success in a changing market.
One of the few remaining relics of the world as it existed then is LarsSonck's imposing national romantic building with its courtyards, restaurants and clubs.
The large trading floor is no longer used for its original purpose; now the brokers sit in front of computer monitors in their own offices.
The history of Hotel Grand Marina begins with a storehouse built on Katajanokka Island in 1913-1929.
The pioneering steel reinforced concrete pillar structure was designed by architect Selim A. Lindqvist, while LarsSonck designed the massive late Art Nouveau exterior.
In 1986 Gullichsen-Kairamo-Vormala, Architects started to redesign the old storehouse into a high-class, functional and distinctive hotel.
The left side of the street sports a number of beautiful old apartment buildings, the loveliest of which is the Art Nouveau Phone Company building designed by LarsSonck.
We turn left and follow the street, which soon becomes Laivurinkatu street, and walk on until Tehtaanpuisto Park, a park located on the right side of the street.
Behind the park stands Mikael Agricola Church, a design by LarsSonck that had to have its distinctive tower removed during the war to prevent enemy planes from using the tower as a landmark.
According considerable importance to the agricultural vernacular, including its furniture, it went on to show how Aalto's timber that could be found in construction echoed many of the techniques of the aboriginal timber tradition.
Preceding in a manner that in retrospect one can only call collagiste, the Neuenschwanders juxtaposed many different aspects of the Finnish architecture including the work of LarsSonck, the Neoclassical legacy of Carl Ludwig Engel and Eliel Saarinen's Helsinki Railway Terminus.
The remainder of the book illustrated works carried out in Aalto's office during the time that the Neuenschwander s worked there, that is to say, the years 1950 and 1951.
The most important of the "second-tier" pioneer modernists is the Finnish architect and designer Alvar Aalto (1898-1976).
Aalto's career began amid the romanticism and Nordic nationalism of LarsSonck and Eliel Saarinen, with its links to Neoclassicism and Jugendstil movements of the late 19th century.
Americans were able to see an Aalto design at first hand at the New York World's Fair of 1939.
He named the house after his wife, Aino (sister of the artist Eero Järnefelt), and lived here from 1904 until his death in 1957; he and his wife are buried on the property.
Avant-garde at the time of its construction, the house was designed by LarsSonck, who also designed the summer residence of the president of Finland.
The wooden interior of Ainola is lined with books and some surprisingly modern-looking furniture.
artnet.com: Resource Library: Kós, Károly(Site not responding. Last check: 2007-11-07)
Kós was influenced by the works of Ruskin, William Morris and the Arts and Crafts Movement.
The example of the Finnish architects Eliel Saarinen and LarsSonck, who studied vernacular buildings in Karelia, was also important, and it was in imitation of these that Kós toured Transylvania with his associates, studying and recording the village architecture.
The result was the development of an individual style derived from Finnish architectural trends and Transylvanian folk architecture.
A professor of Architecture at Oulu University between 1973 and 1979, Pietila ceased teaching to concentrate on design.
Pietila represents a clear lineage from Alvar Aalto and LarsSonck yet he diverged to produce a regionally relevant architecture of international significance.
Captivated by this hill clad with stately pines, Sibelius and Aino purchased the land, and in the spring of 1904 construction began on their new home.
Plans were drawn up by architectLarsSonck, a family friend, and in September the Sibelius family moved into their new, still partially unfinished house.
Sibelius affectionately called it Ainola, a place where Aino dwells.
