Ilmari Tapiovaara
Yrjö Ilmari Tapiovaara (September 7, 1914 – January 31, 1999) was born in Finland to parents Kaarlo Tapiovaara and Aino Rainio. Tapiovaara graduated in 1937 as interior architect from the department of furniture design of the Central School of Arts and Crafts. Even before graduating, Tapiovaara went abroad to work for Alvar Aalto in Artek's London office in 1935. Right after completing his education Tapiovaara got a position as an assistant at the office of Le Corbusier in France. He had the chance to learn from international masters later in life too; in 1953 he got to work with Ludwig Mies van der Rohe in Chicago.
All his international education influenced Tapiovaara’s work. He developed a unique aesthetic, which contributed significantly to the development of the Finnish modern aesthetic. Due to the influence of Alvar Aalto, and his admiration for the designer, Tapiovaara’s work became remarkable for the application of wood, the language of functionalism, and industrial production. In his projects, Tapiovaara always sought to create a human environment, well lighted and welcoming. The furniture designed by Tapiovaara has always been part of a whole, with architecture as a starting point. He was a pioneer in designing more affordable furniture with components that could be efficiently packed for overseas shipping and could easily be assembled after delivery. He had a strong sense of social responsibility and had a democratic approach to design, believing everyone should have access to affordable, good design.
Tapiovaara worked for two of the major Finnish furniture companies: Asko from 1938-1941, and for Keravan Puuteolisuus from 1941-1951. Among his great projects were the interior design for the Domus Academy in 1947, and the Tech Student Village in 1951. Many of his early furniture and textile designs came from these offices. For instance, one of his most famous design, the "Domus" chair, was designed for the Academy as its name suggests too. Around 1950, he opened an office in Helsinki together with his wife, Annikki, who was also involved in furniture and industrial design herself. He believed that the use and structural conception of a piece should be understood at first sight, and this belief made him an ideal candidate for the design of public spaces. Besides furniture, Tapiovaara created graphic design and objects such as radios and cutlery. His textiles, often designed with his wife, were praised by critics as well. In a very Finnish manner, he preferred to enlarge his patterns instead of smaller, repetitive ones.
Tapiovaara’s work was exhibited and awarded widely. He won gold medals for his chairs at the Milan Triennials in 1951, 1954, 1957 and 1960 and received a Good Design award in Chicago in 1950. He also received the Finnish State Design award in 1971 and a prize from the Finnish Culture Foundation in 1986. He worked as a professor in different institutes, both in Finland and abroad. Tapiovaara passed away in 1999, and is remembered as one of the most renowned Finnish furniture and textile designers. ~H.
Interesting Literature:
Svenskberg, Aila (ed.): Ilmari Tapiovaara: Life and Design. Translated by Jüri Kokkonen. Helsinki: Designmuseo, 2014.
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Price category: 20,000 - 30,000 usd / eur
With pieces inspired by nature and the tranquility of everyday life, Ilmari Tapiovaara was able to showcase designs that captured the essence of Finnish identity. In a region where darkness dominates much of the year, lighting offers more than illumination - it evokes warmth, optimism and emotional connection. In the case of this pair of sculptural table lamps made of painted metal layers, the comforting resemblance to the beloved character of “Maija Mehiläinen” brings a sense of joy and familiarity into Nordic homes.
Recalling the lovable German children’s book character published in 1912, “Maija Mehiläinen” - meaning Maya the Bee - this model carries undeniable charisma, with Maya’s stripes recognisable in the lamp’s structure. The shades are made up of a tall cylindrical forms of slender metal layered discs, each layer delicately floating above the next, emitting a soft and diffused glow. Resembling the abdomen part of a honeybee, it stands on three elegant brass legs, running up through the fourteen slates, and finally poking out from the top, bearing a resemblance to delicate bee-like antennae. While having the appearance of the insect itself, the design also gives the impression of a beehive - especially when they are switched on and the warm light seeps out in between the gaps of the layers, like drizzling honey from the cracks of honeycomb walls.
This lighting model stands out in the most wholesome and comforting way, capable of evoking dear childhood memories as well as keeping spirits up during the long winter months for those longing for the lightness of spring, full of flowers and life.
Condition:
In good vintage condition. Wear consistent with age and use. The lamps have recently been rewired and reconditioned. The items have been repainted. Due to the nature and age of the materials, the items may have marks, scratches, and discolouration. These table lamps are compatible with E26 / E27 standard fittings. All lighting can be converted for US usage.
Dimensions:
7.28 in W x 6.69 in D x 19.48 in H
18.5 cm W x 17 cm D x 49.5 cm H