P E Blomstedt

Designed in partnership with architect Matti Lampén, the strikingly modernist Hotel Aulanko in Hämeenlinna — as well as the impossibly plush, sheepskin-upholstered Aulanko armchairs for the project —  is just one of the many examples of architect and furniture designer Märta Blomstedt’s contributions to the functionalist movement in Finland during the 20th century. 

Born in the city of Turku, Blomstedt studied architecture and graduated from the Helsinki University of Technology in 1922. She married fellow student Pauli Blomstedt and together they established an architectural firm. They completed the Finnish Savings Bank in Helsinki and began work on the Hotel Pohjanhovi in Kannonkoski and the small Kannonkoski Church when Pauli died in 1935. 

Matti Lampén, another architect who worked on the bank, aided Blomstedt in completing much of her husband’s unfinished work including the Yaskelyaynena Cottage — a Russian heritage building — and the Pohjanhovi Hotel. In 1938, the pair opened a firm together, Blomstedt & Lampén, and designed the Hotel Aulanko and took on a number of WWII restorations, builds and renovations including the Lindström and Sörnäisten Factory and the Pajarin Church.

Not unlike the well-known SAS Royal Hotel designed decades later in Denmark by Arne Jacobsen, Hotel Aulanko was intended to be a complete work of art, wherein the textiles and furnishings — produced by the likes of Paavo Tynell, Taito and Alvar Aalto for Artek, the company he cofounded with his wife, Aino — made up part of the whole. 

Prior to Lampén’s death, Blomstedt & Lampén initiated work on a large city plan for the Oravikoski Mining Community which included housing units, apartment buildings, row houses and detached homes as well as community buildings like a cinema, nursery school and sauna. Blomstedt brought in architect Olli Penttilä to help complete the project. Blomstedt and Penttilä went on to design the Vuorimiehentie II building on Blomstedt’s old university campus as well as apartments in Oulu, Finland.

Today, Blomstedt’s 1930s-era Aulanko sheepskin lounge chairs — which may have been inspired by Danish designer Fleming Lassen's Tired Man armchair — remain highly sought after for their historical significance and quality. As an active member of the Finnish Association of Architects and founding member of the 1943 Association of Women Architects, Märta Blomstedt leaves behind a legacy of important milestones for female designers, Finnish architecture and Scandinavian modernism.

On 1stDibs, find a collection of vintage Märta Blomstedt seating and other furniture.

Scandinavian modernism is perhaps the warmest and most organic iteration of modernist design. The work of the designers associated with vintage Scandinavian modern furniture was founded on centuries-old beliefs in both quality craftsmanship and the ideal that beauty should enhance even the humblest accessories of daily life.

ORIGINS OF SCANDINAVIAN MODERN FURNITURE DESIGN 

• Emerged in the 1930s 
• Originated primarily in Denmark, Sweden and Finland
• Introduced in the United States in mid-20th century
• Informed by the Bauhaus and modernism; influenced American mid-century modernism  

CHARACTERISTICS OF SCANDINAVIAN MODERN FURNITURE DESIGN

• Bold, clean lines and simple, sturdy symmetries
• Use of natural materials — native woods such as pine, ash and beech
• Open, airy spaces
• Promotion of functionality
• Emphasis on craftsmanship; rooted in cabinetry profession and traditional construction techniques
• Minimal ornamentation (little to no embellishment)
• A neutral or light color palette owing to prominence of light woods

SCANDINAVIAN MODERN FURNITURE DESIGNERS TO KNOW

• Alvar Aalto
• Hans Wegner
• Kaare Klint
• Arne Jacobsen
• Greta Magnusson Grossman 
• Finn Juhl
• Arne Vodder
• Verner Panton

ICONIC SCANDINAVIAN MODERN FURNITURE DESIGNS

• Ant chair
• Grasshopper table lamp
• Wishbone chair
• Stool 60
• Artichoke lamp

VINTAGE SCANDINAVIAN MODERN FURNITURE ON 1STDIBS

The gentle, organic contours that are typical of Scandinavian design appear in the furnishings and decor created by Danish, Finnish and Swedish designers not as a stylistic gesture, but rather as a practical, ergonomic — and, as importantly, elegant — response to the human form.

Each nation produced exceptional talents in all areas of the applied arts, yet each had its forté. Sweden was home to Greta Magnusson Grossman and Bruno Mathsson — creators of the classic Grasshopper lighting series and Berlin daybed, respectively — but the country excelled most notably at ceramics. In the 1920s at the great Gustavsberg porcelain manufactory, Wilhelm Kåge introduced pieces in the Scandinavian style based on influences from folklore to Cubism; his skills were passed on to his versatile and inspired pupils Berndt Friberg and Stig Lindberg.

Likewise, Finland produced a truly ingenious Scandinavian modern furniture designer in the architect Alvar Aalto, a master at melding function and artistic form in works like the Paimio chair, created in collaboration with his first wife, Aino. Yet Finnish glassware was pre-eminent, crafted in expressive, sculptural designs by Tapio Wirkkala and Timo Sarpaneva.

The Danes excelled at chairs. Hans Wegner and Arne Jacobsen were exemplars of the country’s facility with wood, particularly teak. 

Wegner created such iconic pieces as the Round chair and the Wishbone chair; Jacobsen — while the revolutionary architect and furniture innovator produced the best-selling plywood Ant chair — designed two classic upholstered pieces of the 1950s: the Swan chair and Egg chair. The list of great Danes could go on and on, including Finn Juhl, a stylistic maverick and maker of the bold Chieftain chair; Poul Kjaerholm, with his lean metal-and-rattan aesthetic; and Verner Panton, who introduced a vibrant Pop note into international design.

Today, decades after their heyday, the prolific, ever-evolving Scandinavian modernists continue to amaze and delight, and interior designers all over the world use their pieces to bring warmth to any given space.

On 1stDibs, you will note both instantly recognizable vintage Scandinavian modern chairs, sofas, rugs and tables — those that have earned iconic status over time — and many new discoveries. 

While this specific seating is known to all for its comfort and familiar form, the history of how your favorite antique or vintage lounge chair came to be is slightly more ambiguous.

Although there are rare armchairs dating back as far as the 17th century, some believe that the origins of the first official “lounge chair” are tied to Hungarian modernist designer-architect Marcel Breuer. Sure, Breuer wasn’t exactly reinventing the wheel when he introduced the Wassily lounge chair in 1925, but his seat was indeed revolutionary for its integration of bent tubular steel.

Officially, a lounge chair is simply defined as a “comfortable armchair,” which allows for the shape and material of the furnishings to be extremely diverse. Whether or not chaise longues make the cut for this category is a matter of frequent debate.

The Eames lounge chair, on the other hand, has come to define somewhat of a universal perception of what a lounge chair can be. Introduced in 1956, the Eames lounger (and its partner in cozy, the ottoman) quickly became staples in television shows, prestigious office buildings and sumptuous living rooms. Venerable American mid-century modern designers Charles and Ray Eames intended for it to be the peak of luxury, which they knew meant taking furniture to the next level of style and comfort. Their chair inspired many modern interpretations of the lounge — as well as numerous copies.

On 1stDibs, find a broad range of unique lounge chairs that includes everything from antique Victorian-era seating to vintage mid-century modern lounge chairs by craftspersons such as Hans Wegner to contemporary choices from today’s innovative designers.