[{"data":1,"prerenderedAt":-1},["ShallowReactive",2],{"catalog-gubi-raisonne-03":3,"$f54gFciXR1FznWJVNft3TqcXl0B8GYbPbga8lnvghe78":236},{"id":4,"title":5,"slug":6,"image":7,"source":8,"brand_name":9,"brand":10,"brand_slug":11,"file_size":12,"pages":13,"pages_count":231,"matched_pages":232,"match_count":233,"two_pages":234,"show_text":235},24807,"Raisonne 03","gubi-raisonne-03","\u002Fmedia\u002Fimages\u002Fd0\u002F7e5c4d9d529180a7695bb13f91fda8-28fc1b9de9.1.png","http:\u002F\u002F127.0.0.1:8000\u002Fprivate\u002Ffiles\u002F77\u002F838fbed850caa75ef9739257ca8b07-28fc1ab3ed.pdf","GUBI",1852,"gubi","29.9 MB",[14,17,21,25,29,33,37,41,45,49,53,57,61,65,69,73,77,81,85,89,93,97,101,105,109,113,117,121,125,129,133,137,141,145,149,153,157,161,165,169,173,177,181,185,189,193,197,201,205,209,213,217,221,225,229],{"image":7,"text":15,"number":16},"",1,{"image":18,"text":19,"number":20},"\u002Fmedia\u002Fimages\u002Fd0\u002F7e5c4d9d529180a7695bb13f91fda8-28fc1b9de9.2.png","3\n2\nRaisonné 03\nCombining the mind of an engineer with the soul of an artist, \nPaavo Tynell was one of the greatest lighting designers and metal \ncraftsmen of the 20th century. The extraordinary body of work he \nproduced over his six-decade career still resonates today.\nPAAVO             TYNELL \n",2,{"image":22,"text":23,"number":24},"\u002Fmedia\u002Fimages\u002Fd0\u002F7e5c4d9d529180a7695bb13f91fda8-28fc1b9de9.3.png","5\n— Strength of will, courage, and resilience in \nthe face of adversity, regarded as qualities and \nattributes of the Finnish people.\n“THE FINNS HAVE A                               . THEY \nWILL TELL YOU IT IS THE MOST WONDERFUL \nOF ALL THEIR WORDS. IT IS NOT EASILY \nTRANSLATED, BECAUSE NO OTHER LANGUAGE \nHAS ITS PRECISE EQUIVALENT. EVEN THE FINNS \nHAVE DIFFICULTY IN DEFINING IT, FOR, LIKE SO \nMUCH OF FINLAND WHICH ELUDES DEFINITION, \nIT IS A THING FELT, LIKE                                 . \nTHE WORD IS SISU…”\n– THE NEW YORK TIMES, \nJANUARY 14, 1940\n",3,{"image":26,"text":27,"number":28},"\u002Fmedia\u002Fimages\u002Fd0\u002F7e5c4d9d529180a7695bb13f91fda8-28fc1b9de9.4.png","7\n6\nRaisonné 03\n9205 Table Lamp, Bamboo Shade, Paavo Tynell\n9209 Table Lamp, Paavo Tynell\n9205 Table Lamp, Canvas Shade, Paavo Tynell\n",4,{"image":30,"text":31,"number":32},"\u002Fmedia\u002Fimages\u002Fd0\u002F7e5c4d9d529180a7695bb13f91fda8-28fc1b9de9.5.png","9\n8\nRaisonné 03\nTABLE \nOF\nCONTENTS\nThe Genius of Paavo Tynell  12\nTynell in Helsinki  20\nTynell Overseas  52\nTynell Collectors  64\nInhabiting the Spaces of Today  84\nA Celebration of Tynell’s Legacy  90\n5321 Table Lamp, Paavo Tynell, 1941\n",5,{"image":34,"text":35,"number":36},"\u002Fmedia\u002Fimages\u002Fd0\u002F7e5c4d9d529180a7695bb13f91fda8-28fc1b9de9.6.png","  \n11\n10\nRaisonné 03\n“IT IS WONDERFUL THAT OUR FATHER’S \nDESIGNS ARE RETURNING TO PRODUCTION \nAFTER SO MANY DECADES. HE HAD SUCH A  \n                                       ON THE DESIGN STORY \nOF FINLAND AND ON LIGHTING AROUND \nTHE GLOBE. ALL OF US IN THE TYNELL \nFAMILY ARE                        TO SEE THAT HIS \nDESIGNS STILL RESONATE \nWITH PEOPLE ALL OVER THE WORLD.”\n— Leena Helenius, Markku Tynell, and Pekka Tynell\n",6,{"image":38,"text":39,"number":40},"\u002Fmedia\u002Fimages\u002Fd0\u002F7e5c4d9d529180a7695bb13f91fda8-28fc1b9de9.7.png","13\n12\nRaisonné 03\nTHE  GENIUS   of \nPAAVO                 TYNELL\nPaavo Tynell (1890–1973) was born in Helsinki 12 years after the invention of the domestic lightbulb \n– a time when Finland, like most of northern Europe, was yet to be electrified. Tynell came into the \nworld at precisely the right time to become one of the pioneers of modern lighting; as the electric light \nspread across the world, so too did Tynell’s design visions. By the time he died in 1973, Tynell was \nknown, fondly, as ‘the man who illuminated Finland’.\n",7,{"image":42,"text":43,"number":44},"\u002Fmedia\u002Fimages\u002Fd0\u002F7e5c4d9d529180a7695bb13f91fda8-28fc1b9de9.8.png","15\n14\nRaisonné 03\nPaavo Tynell was born the seventh of nine children \nin a working-class family. His parents could not afford an \neducation for their son beyond elementary school, so at \nthe age of 16, he went straight into an apprenticeship at \nG.M. Sohlberg’s metalsmith workshop. Tynell spent six \nyears as a sheet-metal worker before taking on another \nyear’s training as a blacksmith at Koru Oy, a metal \nworkshop set up by the architect Eino Schroderus that \nspecialized in electric light fixtures. Tynell’s final project \nof the year was a light fixture in brass – the material he \nbecame renowned for.\nTynell supplemented his practical experience at Koru \nwith evening classes at Helsinki’s Central School of \nApplied Arts (now part of Aalto University). In 1916 he \nleft Koru and continued his studies in metal embossing at \nthe Central School as a day student. Here, he was taught \nby the polymath artist and designer Eric O.W. Ehrström, \nand within a year, Tynell’s skills had so impressed the \nfaculty that he was invited to take up a post as a metalwork \nteacher, which he held from 1917 to 1928.\nIn 1918, Tynell joined his former teacher Ehrström, \nmetalsmith Frans Nykänen, sculptor Emil Wickström, \nand industrialist Gösta Serlachius to found the company \nTaito Oy (named after the Finnish word for ‘skill’). As \nmanaging director, Tynell oversaw the production of \na range of light fittings, functional metal objects and \nsculptures, as well as large-scale custom designs, from the \ncompany’s foundry. \nTynell served as Taito’s principal designer throughout \nthe 1920s, supported by a roster of other designers, artists, \nand sculptors, including Alvar Aalto, Henry Ericsson, \nand Ville Vallgren. By the 1930s, Taito was exclusively \na lighting company, having leaned into the growing \nelectrification of a newly independent Finland. During the \ninterwar years, the company earned the reputation as the \ntrendsetter in the Finnish lighting industry. Tynell’s own \ninternational reputation grew in parallel, largely thanks to \nhigh-profile lighting projects such as Parliament House in \nHelsinki, designed by architect Johan Sigfrid Sirén, and \ncollaborations with leading modernist architects, notably \nAlvar Aalto.\nMASTERING METAL\nOne of the key figures in the birth of \nmodern lighting, Paavo Tynell left behind a \nlegacy as one of the biggest influences on \nearly electric lighting design both in \nFinland and beyond.\nLeft: Paavo & Helena Tynell at the Taito Oy factory, 1940s\nThe Genius of Paavo Tynell\n",8,{"image":46,"text":47,"number":48},"\u002Fmedia\u002Fimages\u002Fd0\u002F7e5c4d9d529180a7695bb13f91fda8-28fc1b9de9.9.png","17\n16\nRaisonné 03\nTaito, and Tynell in particular, became known \namong architects and across the country as the \npremier designer of light for public spaces. His \ntalent for creating indirect light was especially \nsought after in spaces such as restaurants and \nmovie theaters, where softer, more atmospheric \nlighting is highly prized. \nThe ’30s and ’40s were largely a time of \nexperimentation for Tynell, who evolved his style \nfrom the functionalist and art deco designs of \nhis earlier career to more decorative and elegant \nexpressions. He served as chairman of Ornamo, \nFinland’s association of industrial designers, from \n1926 to 1929 and 1936 to 1945. \nThrough Taito, Tynell provided training and \nsupport for young designers, enlisting them as \ndrafting assistants, and training them in the skills \nneeded to kickstart their own careers. One such \nassistant, the glass designer Helena Turpeinen, \nmarried Tynell in 1947, working alongside him at \nTaito until 1953.\nAfter World War II ended, Tynell returned to \none of his earliest materials, creating a series of \nhighly individual lamps that used perforated and \npolished brass to imbue traditional aesthetics with \na modern sensibility. \nFrom the ’30s and throughout the ’50s, Tynell \nwas considered Finland’s premier lighting designer, \ncalled on to illuminate public spaces across the \ncountry. In Helsinki in particular, Tynell’s lighting \nis part of the fabric of the city. Many of his grand \ninstallations survive today, in buildings ranging \nfrom train stations and churches to hotels and \neducational institutions. His influence spread \nabroad, too, with Tynell becoming especially \nsuccessful in the U.S., where he acquired near-\ncelebrity status as a designer.\nThe merger of Taito with the lighting factory \nIdman Oy in 1953 prompted Tynell’s retirement as \nmanaging director of the company, but he continued \ndesigning for Taito and other lighting brands in \nFinland and abroad. Most notably, he designed for \nthe respected brand Lightolier in the U.S., enjoying \na productive partnership until 1966.\nTynell’s \ndistinctive \nstyle, \ncoupled \nwith \nhis understanding of light’s role in shaping an \natmosphere, proved to have a timeless appeal. His \nlamps remained in demand among collectors and in-\nthe-know design fans long after his death in 1973.\nMarked by delicacy and softness, \nTynell’s most famous lamps of this time \necho the structures of nature  – sculptural \nshapes reminiscent of tree branches, \nswirling snowflakes, and seashells.\nThe Genius of Paavo Tynell\nTaito Oy factory workers \npictured in Reader's Digest, 1951\n",9,{"image":50,"text":51,"number":52},"\u002Fmedia\u002Fimages\u002Fd0\u002F7e5c4d9d529180a7695bb13f91fda8-28fc1b9de9.10.png","19\n18\nRaisonné 03\n“MODERNIST IN THEIR                  ,  \nBUT WITH DECORATIVE FLOURISHES, \nPAAVO TYNELL’S DESIGNS HAVE \n                                        ON THE \nATMOSPHERE OF EVERY INTERIOR IN \nHELSINKI IN WHICH THEY REMAIN.” \n— Juhana Lahti, Senior Researcher, \nFinnish Heritage Agency\n",10,{"image":54,"text":55,"number":56},"\u002Fmedia\u002Fimages\u002Fd0\u002F7e5c4d9d529180a7695bb13f91fda8-28fc1b9de9.11.png","21\n20\nRaisonné 03\nTYNELL\nIN HELSINKI\n",11,{"image":58,"text":59,"number":60},"\u002Fmedia\u002Fimages\u002Fd0\u002F7e5c4d9d529180a7695bb13f91fda8-28fc1b9de9.12.png","23\n22\nRaisonné 03\nHELSINKI \ncentral STATION\nArriving in Helsinki, or departing from it, travelers are met by design masterworks from \nsome of the greatest figures in 20th-century Finnish design. Completed in 1919, Helsinki \nCentral Station features art nouveau architecture by Eliel Saarinen, sculpture by Emil \nWikström, and lighting by Paavo Tynell.\nTynell in Helsinki\n",12,{"image":62,"text":63,"number":64},"\u002Fmedia\u002Fimages\u002Fd0\u002F7e5c4d9d529180a7695bb13f91fda8-28fc1b9de9.13.png","25\n24\nRaisonné 03\nChandelier for Helsinki Central Station, \nPaavo Tynell, 1950s\n",13,{"image":66,"text":67,"number":68},"\u002Fmedia\u002Fimages\u002Fd0\u002F7e5c4d9d529180a7695bb13f91fda8-28fc1b9de9.14.png","27\n26\nRaisonné 03\nFrequently cited as one of the world’s most beautiful \nrailway terminals, Helsinki Central Station is distinguished \nexternally by Wikström’s four towering statues, the \nLyhdynkantajat (‘lantern bearers’), and internally by \nTynell’s grand chandeliers that hang in the main hall. This \nwas not the only project that brought Tynell and Wikström \ntogether – both were co-founders of Taito Oy, the company \nwhich manufactured the lights.\nTynell’s neoclassical chandeliers are instantly recognizable \nto those familiar with the station, representing homecoming \nto many Finns. They have hung in the main hall since the \n1950s, when they were installed to replace earlier, more \nornate designs that were destroyed in a fire that broke out in \none of the restaurants on June 14, 1950.\nComprising rings of frosted glass shades clutched like paper \nscrolls in a polished brass frame, the magnificent chandeliers \nhave cast their warm, welcoming glow over the comings and \ngoings of Helsinki for over 70 years.\nAlthough the station has gone through many changes \nover the years, Eliel Saarinen’s landmark architecture \nhas been meticulously preserved. What was once the \nticket hall is today a thriving restaurant, with the old \nticket office’s clock now keeping time at the bar.\n",14,{"image":70,"text":71,"number":72},"\u002Fmedia\u002Fimages\u002Fd0\u002F7e5c4d9d529180a7695bb13f91fda8-28fc1b9de9.15.png","29\n28\nRaisonné 03\nHELSINKI SCHOOL \nof  ECONOMICS\nBuilt as the Helsinki School of Economics in 1950, and reborn as the home of Aalto University \nExecutive Education in 2020, this striking building in central Helsinki has educated Finland’s \neconomic elite for over 70 years. A landmark example of 1950s modernist architecture, it \nwas designed by architects Hugo Harmia and Woldemar Baeckman, with Paavo Tynell \ncommissioned to design lighting for the interiors.\nCeiling Lamp for Helsinki School of Economics,\nPaavo Tynell, 1950\n",15,{"image":74,"text":75,"number":76},"\u002Fmedia\u002Fimages\u002Fd0\u002F7e5c4d9d529180a7695bb13f91fda8-28fc1b9de9.16.png","31\n30\nRaisonné 03\nWhereas the brick-built façade is striking \nfor its impressive relief by sculptor Michael \nSchilkin, the school’s interiors are notable \nfor their extraordinary materiality. Pine-\npaneled walls have patinated beautifully \nover time, creating the perfect backdrop to \nTynell’s wall lamps, pendants, and recessed \nceiling lamps in warm-toned brass.\nTynell designed lighting for numerous \nspaces throughout the building. For the \nmeeting rooms, he developed ceiling lamps \nin perforated copper. For the grand arched \nballroom – arguably the space in which it \nis most important to get the atmosphere \nright – he devised wall lamps that delicately \nfiltered the light through their perforated \nbrass \nbase, \nenriched \nwith \nelaborate \ndecorative features crafted from brass wire.\nWall Lamp for Helsinki School of Economics, \nPaavo Tynell, 1950\nTynell in Helsinki\n",16,{"image":78,"text":79,"number":80},"\u002Fmedia\u002Fimages\u002Fd0\u002F7e5c4d9d529180a7695bb13f91fda8-28fc1b9de9.17.png","33\n32\nRaisonné 03\nFrom the outside, the most striking feature is the \ndetailed stone relief by Russian-born sculptor Michael \nSchilkin. It depicts merchants and the activities of \ncommerce – reflecting the building’s role since it was \nfirst constructed. \nThe restoration of the building in 2020 saw \nits most important public spaces returned \nto their former glory, while other areas were \nadapted to meet the needs of the new business \nschool. More than 500 Tynell lamps were \npreserved in place, meticulously cleaned and \npolished to look as resplendent as the day \nthey were first installed. \n Ceiling Lamp for Helsinki School of Economics, Paavo Tynell, 1950\n'Moon Eclipse' Wall Lamps, Paavo Tynell, 1950s\n1982 Pendant, Paavo Tynell, 1940s\n",17,{"image":82,"text":83,"number":84},"\u002Fmedia\u002Fimages\u002Fd0\u002F7e5c4d9d529180a7695bb13f91fda8-28fc1b9de9.18.png","35\n34\nRaisonné 03\nORIGINAL sokos \nhotel VAAKUNA\nThe largest hotel in the Nordics when it opened in 1952, Hotel Vaakuna and its famous restaurant \noccupy the top five floors of the Sokos department store building in central Helsinki. The work \nof architect Erkki Huttunen, the building’s functionalist façade is tempered on the inside with \nornamental touches of the romantic. This, in part, is thanks to Paavo Tynell, who custom-designed \nnumerous light fixtures for the property, including the rooms, lobby, and restaurant.\nTynell in Helsinki\n",18,{"image":86,"text":87,"number":88},"\u002Fmedia\u002Fimages\u002Fd0\u002F7e5c4d9d529180a7695bb13f91fda8-28fc1b9de9.19.png","36\nRaisonné 03\nHousing one of the most extensive collections of \nTynell designs that survives today, Hotel Vaakuna \nshowcases the breadth of his distinctive style. \nGolden sconces made from curved sheets of brass, \nhand-perforated to create a beautiful play of light, \nare fixed on the walls. More than 20 conical brass \nreading lamps line the wood-paneled circular lobby, \nalongside high-backed armchairs by Runar Engblom \n– the former teacher of Helena Tynell, and the man \nwho encouraged her to join Taito as an apprentice, \nthereby bringing husband and wife together. \nSeveral styles of chandelier adorn the space, from \ndelicate glass-lantern cascades to clusters of golden \nbrass bells. Natural motifs abound, including \nsnowflake-shaped canopies and exquisite flower \ndetails crafted from brass wire. \nLeft: Glass Suspension for Hotel Vaakuna, Paavo Tynell, 1952 \nRight: Floor Lamps for Hotel Vaakuna, Paavo Tynell, 1952\nHigh-back armchairs, Runar Engblom, 1940s\n",19,{"image":90,"text":91,"number":92},"\u002Fmedia\u002Fimages\u002Fd0\u002F7e5c4d9d529180a7695bb13f91fda8-28fc1b9de9.20.png","39\n38\nRaisonné 03\nChandelier, Paavo Tynell, 1950s\n9602 Floor Lamp, Canvas Shade, Paavo Tynell\nStay Lounge Chairs, Space Copenhagen\n9464 Wall Lamp, Paavo Tynell\nTynell in Helsinki\n",20,{"image":94,"text":95,"number":96},"\u002Fmedia\u002Fimages\u002Fd0\u002F7e5c4d9d529180a7695bb13f91fda8-28fc1b9de9.21.png","41\n40\nRaisonné 03\nSokos Hotel Vaakuna was originally intended \nto open in time for the 1940 Olympics, but the \noutbreak of World War II delayed completion \nfor 12 years – just in time for the 1952 edition \nof the games.\nTynell’s shell-like 5321 Table Lamp greets guests entering \nthe 10th-floor restaurant hall, sharing the space with another \nTynell icon, the 9602 Floor Lamp.\nTynell isn’t the only master craftsperson whose work appears \nin Hotel Vaakuna. In the restaurant lobby, glinting in the light \nof his perforated brass chandelier, the small tables engraved \nwith animal designs is the work of his wife, Helena Tynell.\n5321 Table Lamp, Paavo Tynell\nLeft: Chandelier, Paavo Tynell, 1950s\nCoffee Table, Helena and Paavo Tynell, 1952\nStay Lounge Chairs, Space Copenhagen\nDilén, Börje, photographer 1952, Helsinki City Museum\n",21,{"image":98,"text":99,"number":100},"\u002Fmedia\u002Fimages\u002Fd0\u002F7e5c4d9d529180a7695bb13f91fda8-28fc1b9de9.22.png","43\n42\nRaisonné 03\n",22,{"image":102,"text":103,"number":104},"\u002Fmedia\u002Fimages\u002Fd0\u002F7e5c4d9d529180a7695bb13f91fda8-28fc1b9de9.23.png","45\n44\nRaisonné 03\nMEILAHTI\nCHURCH\nDesigned by architect Markus Tavio and completed in 1954, the brick-built Meilahti \nChurch is one of the most remarkable mid-century churches in Helsinki. It is home \nto spectacular organ, crafted to resemble an abstract vision of an angel, by the \nDanish firm Marcussen & Son. In front, hanging above the pews, the six chandeliers \nrank among the most extraordinary works of Paavo Tynell’s career. \n",23,{"image":106,"text":107,"number":108},"\u002Fmedia\u002Fimages\u002Fd0\u002F7e5c4d9d529180a7695bb13f91fda8-28fc1b9de9.24.png","47\nTHE CHURCH'S STRIKING MODERNIST INTERIORS  INCORPORATE A DRAMATIC CURVED CEILING.\n",24,{"image":110,"text":111,"number":112},"\u002Fmedia\u002Fimages\u002Fd0\u002F7e5c4d9d529180a7695bb13f91fda8-28fc1b9de9.25.png","49\n48\nRaisonné 03\nConsciously designed to evoke the crown of thorns worn \nby Christ on the cross, the asymmetric brass chandeliers \nare beautiful, but also rich with meaning. Unlike the lights \nin most churches, they are dimmable, which allows the \nMeilahti clergy to adjust light level over the course of the day \nand season, and to create specific atmospheres for services, \nconcerts, and celebrations.\n \nIn the context of a church, light acquires a special symbolic \nresonance that is absent from other settings. For Christians, \nlight is inextricably interlinked with holiness. When \ndesigning for Meilahti Church, Tynell brought not only \nan aesthetic and functional knowledge of light, but also a \nspiritual understanding of its importance. \nAs well as the main light fixtures, \nTynell also designed a number of \nwall lamps and chandeliers for \nMeilahti Church, as well as the font \nand the candelabra beside the altar.\nChandeliers for Meilahti Church, Paavo Tynell, 1954\nTynell in Helsinki\n",25,{"image":114,"text":115,"number":116},"\u002Fmedia\u002Fimages\u002Fd0\u002F7e5c4d9d529180a7695bb13f91fda8-28fc1b9de9.26.png","“PAAVO TYNELL IS ONE OF THE GREAT \nFINNISH DESIGNERS, EVEN IF HIS \nSOMETIMES                              DESIGNS \nDO NOT ALWAYS FIT TO THE PRAGMATIC \nDESIGN CULTURE FOR WHICH FINLAND IS \nMOSTLY KNOWN. HIS DECORATIVE FORMS \nAND                                                        MATERIALS  \nSPOKE TO AN INTERNATIONAL AUDIENCE, \nWHO WOULD NEVER BE INTERESTED IN \nTRADITIONAL FINNISH DESIGN.”\n— Harry Kivilinna, Curator, Design Museum Helsinki\n51\n50\nRaisonné 03\n",26,{"image":118,"text":119,"number":120},"\u002Fmedia\u002Fimages\u002Fd0\u002F7e5c4d9d529180a7695bb13f91fda8-28fc1b9de9.27.png","52\nRaisonné 03\nTYNELL\nOVERSEAS\n“We came from small Finland – It was \nlike jumping into another reality. And of \ncourse, it was. Neither Taito’s partners \nin Finland nor others could understand \nthis, that Paavo Tynell and Taito had \nseized a small but significant opportunity \nto enter this other, larger reality.”\n \n \n \n \n – Helena Tynell\n",27,{"image":122,"text":123,"number":124},"\u002Fmedia\u002Fimages\u002Fd0\u002F7e5c4d9d529180a7695bb13f91fda8-28fc1b9de9.28.png","55\n54\nRaisonné 03\nOne day in 1948, at one o’clock in the morning, \nPaavo Tynell arrived in New York, hours behind \nschedule, speaking no English, and with no money \nin his pocket except a check for $1,000 issued by \nthe Bank of Finland. Encouraged by Taito Oy’s \nboard chairman Einar Ahlstrom, Tynell was \nthere to oversee the installation of Taito’s latest \nlighting models at Finland House – the Finnish-\nAmerican Trading Corporation’s great hope for \nthe transatlantic triumph of Finnish design.\nWith interiors by architect Aarne Ervi and \nencompassing a Finnish restaurant, shop and \nthe offices of the Finnish-American Trading \nCorporation, Finland House opened at 39–41 East \n50th Street, Manhattan, with a collection of textiles, \nfurniture, glassware, ceramics, and hand-crafted \njewelry – but it was Tynell’s lighting that stole the \nshow. Table lamps including the shell-like 5321 and \nelegant 9205 were photographed in the New York \nTimes the day after opening, triggering a surge of \ninterest in Finland House and this extraordinary \ndesigner from across the sea.\nThe Finnish-American Trading Corporation \nquickly realized that Tynell would be key to the \nsuccess of their venture, while Tynell himself was \nexcited at the prospect of building his career in \na new territory. In the spring of 1950, Finland \nHouse gave Tynell his first dedicated lighting \nexhibition in America, and another in 1952, the \nopening of which he and Helena attended. To \naccommodate U.S. electrical regulations, which \nprohibited ceiling lamps from being suspended \nfrom power cords, Tynell designed a fixture with \na counterweight – a feature which went on to \nbecome one of his design hallmarks. \nThe exhibition elevated Tynell to near-\ncelebrity status in the U.S. Interviews with him \nwere published in the national press and, at one \npoint on a TV talk show, with Helena as his \ninterpreter, and canine movie star Lassie as his \nfellow guest. \nIn 1954 the Finland House brand was acquired \nby the American lighting company Litecraft, \nwhich continued working closely with Tynell \nuntil 1958, hosting further exhibitions in 1955 \nand 1956, until the premises were sold on for \ndemolition to make way for a skyscraper, and the \nstory of Finland House came to an end.\nFinland House showroom\nNew York, 1950s\n9205 Table Lamp, Paavo Tynell, 1948\n\"A collection of modern lamps and lighting quite \ndifferent from anything that has been available \nhere was perhaps the most spectacular attraction \nat the Finnish Art Shop which opened officially \nyesterday at 39 East Fiftieth Street […] Polished \nbrass is the predominant material in the lamps, \nwhich are designed by Paavo Tynell. But the \nmetal is handled in such a fashion as to make it \nseem strangely refined.\"\n—  The New York Times, \nApril 17, 1948\nFinland House Lighting Catalog, 1950\nTynell Overseas\n\"Paavo Tynell… distinguished craftsman, celebrated artist, \nand foremost lighting designer of our time. Tynell has been \nhonored with many coveted design awards for his apparently \nlimitless imagination, and his unparalleled ability to create \ndesigns of enduring beauty. […] This collection of original \ndesigns is the culmination of Paavo Tynell’s lifelong effort to \nblend the harmony of lighting with the harmony of living.\" \n—  Finland House Lighting Catalog, 1950\n \nA1982MS Pendant with counterweight, \nPaavo Tynell, 1950s\nCOMING \nTO AMERICA\nTynell and Finland House\n",28,{"image":126,"text":127,"number":128},"\u002Fmedia\u002Fimages\u002Fd0\u002F7e5c4d9d529180a7695bb13f91fda8-28fc1b9de9.29.png","57\n56\nRaisonné 03\nAT THE BIRTH \nOF THE\nUNITED NATIONS\n",29,{"image":130,"text":131,"number":132},"\u002Fmedia\u002Fimages\u002Fd0\u002F7e5c4d9d529180a7695bb13f91fda8-28fc1b9de9.30.png","59\n58\nRaisonné 03\nTynell’s early successes with Finland House \nensured that, throughout the early 1950s, he \nreceived a steady stream of invitations to tender, \nand Taito was flooded with commissions. Architects \nturned to him for support in a great variety of high-\nprofile projects, including restaurants and private \nhouses in the U.S., as well as other parts of the \nAmerican continents. Tynell fulfilled a number of \norders for clients in locations such as Cuba and oil-\nrich Venezuela.\nFrom Havana, for example, Tynell received an \norder for bespoke large-scale lighting fixtures, with \nan integrated lift mechanism, for a casino. The cost \nof transporting the meter-wide lamps by air came \nto around $3,000 – an extraordinary sum for the \ntime, but one the client was all too happy to pay to \nacquire a Tynell original.\nOne of his most notable commissions of this \nperiod came from the United Nations. Invited \nto design lighting for the office of the UN’s first \nSecretary General, Trygve Lie, at the soon-to-be-\nfinished UN Building in New York, Tynell created \nthe Model 9060, a beautiful, bowl-like lamp in \npattern-perforated brass, attached to its canopy \nwith a rigid brass fork. The building’s architects, \nHarrison & Abramovitz, would have liked to have \nfeatured Tynell’s lights throughout the building \n– including the session hall. However, because \nFinland was not a member of the UN at the time \nand could not contribute to the project’s costs, \nTynell’s involvement was limited to Lie’s office and \na few smaller spaces. \nTynell’s small contribution made a large impact, \nhowever. The design was awarded first prize at the \nAmerican Institute of Interior Decorators’ annual \ncompetition, announced at the Waldorf Astoria. \nThis recognition won him many more new customers \nin the U.S., and cemented Tynell’s reputation as a \nvisionary creative force in global design.\n“In the beginning of the 1950s, Taito flourished. \nThere was growing building activity in Finland, \nand export to U.S.A. and otherwhere was growing \nrapidly. Paavo Tynell made successful design work \nfor many of the finest architects of U.S.A., sending \nsketches and drawings of special lighting fixtures, \nbased on architectural plans sent to him by architects. \nIn the majority of cases, orders did follow, and the \nlighting fixtures were made at Taito, to be shipped to \ntheir buildings or homes of destiny.”\n— Helena Tynell\n9060 Ceiling Lamp, Paavo Tynell, 1950\nOffice of Secretary General of the United Nations, New York\nTaito Oy workers preparing \ntransatlantic shipment, 1950s\n",30,{"image":134,"text":135,"number":136},"\u002Fmedia\u002Fimages\u002Fd0\u002F7e5c4d9d529180a7695bb13f91fda8-28fc1b9de9.31.png","SNOWFLAKE LAMP, PAAVO TYNELL, 1950s\nFEATURED IN THE BRIDE’S MAGAZINE\n10201 PENDANT, PAAVO TYNELL, 1950s\nFEATURED IN ADVERTISEMENT FOR OFFICES FOR LIVING\n",31,{"image":138,"text":139,"number":140},"\u002Fmedia\u002Fimages\u002Fd0\u002F7e5c4d9d529180a7695bb13f91fda8-28fc1b9de9.32.png","63\n62\nRaisonné 03\nALL GREAT DESIGNERS HAVE THEIR COLLECTORS. \nA SINGLE PIECE OF DESIGN IS A SNAPSHOT OF \nA SPECIFIC                                                .  A DESIGN \nCOLLECTION, BY CONTRAST, REPRESENTS AN \nENTIRE STORY. ALL OVER THE WORLD, \nCOLLECTORS ARE TELLING TYNELL’S. HIS \nMATERIAL INGENUITY AND HIS                                  \nMAKE FOR A DISTINCTIVE AESTHETIC THAT \nSIMPLY COULD NOT BELONG TO ANYONE ELSE. \nWHEREVER YOU ARE, YOU CAN ALWAYS \nRECOGNIZE THE WORK OF PAAVO TYNELL. \n",32,{"image":142,"text":143,"number":144},"\u002Fmedia\u002Fimages\u002Fd0\u002F7e5c4d9d529180a7695bb13f91fda8-28fc1b9de9.33.png","65\n64\nRaisonné 03\nat HOME WITH TYNELL in\nOXFORDSHIRE\nAt the heart of a 170-acre English countryside estate in Oxfordshire stands the \nmaximalist-meets-mid-century retreat of interior designer Peter Mikic. Infused with \ngreenery, touches of 1970s style and warm, natural materials, it makes the perfect \nhome for many of Paavo Tynell’s pendants and table lamps.\nTynell Collectors\n",33,{"image":146,"text":147,"number":148},"\u002Fmedia\u002Fimages\u002Fd0\u002F7e5c4d9d529180a7695bb13f91fda8-28fc1b9de9.34.png","67\n66\nRaisonné 03\nBUILT BY MIKIC AND HIS PARTNER, THE 11,000 \nSQ FT HOUSE IS DESIGNED TO BLEND INTO \nTHE SURROUNDING LANDSCAPE, WORKING \nIN HARMONY WITH THE \nOF THE SETTING. INTERIORS TAKE THEIR CUES \nFROM THE VIEWS, RESERVING BOLDER COLORS \nFOR INNER ROOMS THAT ARE FURTHER FROM \nTHE GLORIOUS VISTAS.\nLeft: Ceiling Lamps, Paavo Tynell, 1940s\n",34,{"image":150,"text":151,"number":152},"\u002Fmedia\u002Fimages\u002Fd0\u002F7e5c4d9d529180a7695bb13f91fda8-28fc1b9de9.35.png","69\n68\nRaisonné 03\n",35,{"image":154,"text":155,"number":156},"\u002Fmedia\u002Fimages\u002Fd0\u002F7e5c4d9d529180a7695bb13f91fda8-28fc1b9de9.36.png","71\n70\nRaisonné 03\nTynell Collectors\nLeft: 9602 Floor Lamp, Canvas Shade, Paavo Tynell, 1935\nRight: 9209 Table Lamps, Paavo Tynell, 1940\n",36,{"image":158,"text":159,"number":160},"\u002Fmedia\u002Fimages\u002Fd0\u002F7e5c4d9d529180a7695bb13f91fda8-28fc1b9de9.37.png","73\n72\nRaisonné 03\nAs a designer himself, Mikic understands the seamlessness \nwith which Tynell’s designs fit into almost any style of modern \ninterior, catching the eye without dominating the space. \nMikic’s Tynell collection spans three decades of the designer’s \ncareer, chronicling the evolution of his craftsmanship from \nthe iconic 9602 Floor Lamp of the late 1930s, to 1945’s 9209 \n‘Helmet’ Table Lamp, and the square, painted-brass grid of the \n9068 ‘Starry Sky’ ceiling lamp of 1965.\nBrass, linen, rattan, glass – Tynell’s natural material choices slot \ngracefully into the house’s wood-and textile-led textural palette, \ncontributing to the atmosphere of organic warmth throughout.\n9068 ‘Starry Sky’ Ceiling Lamp, Paavo Tynell, 1965\n",37,{"image":162,"text":163,"number":164},"\u002Fmedia\u002Fimages\u002Fd0\u002F7e5c4d9d529180a7695bb13f91fda8-28fc1b9de9.38.png","75\n74\nRaisonné 03\nHELSINKI\nOn a forested island shore, a boat ride across the bay from the Finnish capital, lies a \nserene waterfront villa whose white walls encompass one of the largest Tynell private \ncollections in Finland. A hybrid of 1930s Finnish functionalism and 1950s summer-house \nstyle, the villa provides the perfect blend of rustic solitude and city accessibility for the \nacademic and curator who make their home here.\nat HOME WITH TYNELL in\n",38,{"image":166,"text":167,"number":168},"\u002Fmedia\u002Fimages\u002Fd0\u002F7e5c4d9d529180a7695bb13f91fda8-28fc1b9de9.39.png","77\n76\nRaisonné 03\nSince beginning his collection at the turn of the century, the \nowner has acquired 23 Tynell pieces through auctions and \npersonal connections in the antiques industry. His pieces \nrange from commercial designs for Finland House to custom \ndesigns that Tynell created for specific commissions such as \ncinemas and theatres.\nThe collection exclusively comprises Tynell designs in brass, \nwith no glass shades in evidence – a practical concession \nto raising three football-loving boys. “These lamps can \nwithstand a football match,” the collector assures.\nTable Lamp, Paavo Tynell, 1940s\nSwedish ‘Bread Basket’, 18th century\nHeirloom Drawer, 1780-1820\n9209 Table Lamp, Paavo Tynell, 1940\nPainting, Kalervo Palsa, 1972\nArmchair, Carl Gustaf Hiort, 1950s\n",39,{"image":170,"text":171,"number":172},"\u002Fmedia\u002Fimages\u002Fd0\u002F7e5c4d9d529180a7695bb13f91fda8-28fc1b9de9.40.png","79\n78\nRaisonné 03\nTynell Collectors\nAMONG THE MOST                                 ARE A PAIR \nOF STANDING FLOOR LAMPS – TWO OF JUST 36 EVER \nPUT INTO PRODUCTION. ORIGINALLY CREATED FOR \nHELSINKI’S DOMUS ACADEMICA STUDENT RESIDENCE \nCOMPLEX IN 1952, THE CURVE-NECKED FLOOR LAMPS \nMAKE THE                                         TO A WALL-MOUNTED \nTRADITIONAL FINNISH RUG, WOVEN WITH A TULIP \nPATTERN IN 1836.\nLeft: ‘Domus’ Floor Lamp, Paavo Tynell, 1947\nRight: K8-11 Wall Lamps, Paavo Tynell, 1950s\nTraditional Finnish Woven Rug, 1846\n",40,{"image":174,"text":175,"number":176},"\u002Fmedia\u002Fimages\u002Fd0\u002F7e5c4d9d529180a7695bb13f91fda8-28fc1b9de9.41.png","80\nRaisonné 03\nFinns use the term ‘kaamos’ to describe the winter months, \nwhen hours of natural sunlight are few and far between. The \ncollector believes that Tynell’s lighting is ideal for bringing \natmospheric light and warmth back to the house during the \nkaamos. In the summer, when the sun seems to shine all day, \nthe lamps still bring joy as decorative objects.\n5321 Table Lamp, Paavo Tynell, 1941\nCeiling Lamp, Paavo Tynell, 1950s\nDesk, Billnäs Möbler, 1920\n‘Domus’ Floor Lamp, Paavo Tynell, 1947\nKaruselli Lounge Chair, Yrjö Kukkapuro, 1964\n133 'Festival' Ceiling Lamp, Paavo Tynell, 1950s\n5061 Table Lamp, Paavo Tynell, 1950s\n10333 Wall Lamp, Paavo Tynell, 1950s\n",41,{"image":178,"text":179,"number":180},"\u002Fmedia\u002Fimages\u002Fd0\u002F7e5c4d9d529180a7695bb13f91fda8-28fc1b9de9.42.png","83\n82\nRaisonné 03\n“TODAY, THE DESIGNS OF PAAVO TYNELL \nARE AS WIDELY                     AS WHEN THEY \nWERE CONCEIVED NEARLY A CENTURY \nAGO. NOW THAT THE IMPACT OF SOCIAL \nMEDIA HAS BROUGHT TYNELL’S \nDISTINCTIVE VISION TO A NEW AUDIENCE \nOF AESTHETES AND COLLECTORS, \nGUBI IS PRIVILEGED TO BE WRITING A \n                                   IN TYNELL’S STORY.”\n— Marie Kristine Schmidt, Chief Brand Officer, GUBI\n",42,{"image":182,"text":183,"number":184},"\u002Fmedia\u002Fimages\u002Fd0\u002F7e5c4d9d529180a7695bb13f91fda8-28fc1b9de9.43.png","85\n84\nRaisonné 03\nthe LIGHT\nFANTASTIC\nPaavo Tynell defined the dawn of the electric light in Finland and beyond. Thanks to the \ntimelessness of their aesthetic and the quality of their craftsmanship, the lamps he created \nearly in the 20th century – both for public spaces or private homes – have just as much \nimpact and resonance today in the 21st.\nA Tynell lamp has a remarkable power to transform the atmosphere of a room – whether \nit is switched on or off. Works of sculpture as much as functional objects, Tynell’s \ndesigns continue to enchant modern audiences. In a world saturated with design, they \nstill frequently take on starring roles in interiors-oriented Instagram feeds, enriching and \nilluminating private homes and public spaces all over the world.\n@sebastien.baert\nParis, France\nInhabiting the Spaces of Today\n",43,{"image":186,"text":187,"number":188},"\u002Fmedia\u002Fimages\u002Fd0\u002F7e5c4d9d529180a7695bb13f91fda8-28fc1b9de9.44.png","87\nTYNELL\nIN THE\n@tanjademmerath\nBerlin, Germany\n@thehouseof_mulk\nDerby, UK\n@leodavut\nParis, France\n@bukowskis\nStockholm, Sweden\n@sarahellisonstudio\nByron Bay, Australia\n@mttni\nTokyo, Japan\n@osmantahir\nStockholm, Sweden\n@gooisemannen\nGooi, Netherlands\nSPACES \nOF TODAY\n@reserve_home\nBrooklyn, U.S.A.\n@vintatre\nTampere, Finland\n",44,{"image":190,"text":191,"number":192},"\u002Fmedia\u002Fimages\u002Fd0\u002F7e5c4d9d529180a7695bb13f91fda8-28fc1b9de9.45.png","89\n88\nRaisonné 03\nWORKING CLOSELY WITH PAAVO TYNELL’S \nFAMILY, GUBI HAS EMBARKED UPON \nA JOURNEY OF                                              . TO \nRECREATE TYNELL’S DESIGN GUBI HAS \nCOMBINED DETAILED STUDY OF ORIGINAL \nEXAMPLES AND AN EXTENSIVE PROCESS \nOF                                           WITH EQUIPMENT \nAND  MATERIALS. \n",45,{"image":194,"text":195,"number":196},"\u002Fmedia\u002Fimages\u002Fd0\u002F7e5c4d9d529180a7695bb13f91fda8-28fc1b9de9.46.png","91\n90\nRaisonné 03\na CELEBRATION of \nTYNELL’S LEGACY\nDelving into the Tynell archive, meticulously unpicking the details of every piece, \nGUBI has rediscovered and remastered the metalwork skills and manual craft \ntechniques required to bring several original designs back to life.\n",46,{"image":198,"text":199,"number":200},"\u002Fmedia\u002Fimages\u002Fd0\u002F7e5c4d9d529180a7695bb13f91fda8-28fc1b9de9.47.png","93\n92\nRaisonné 03\nOne of the iconic pieces launched during \nTynell’s tenure at Taito, the 9209 Table Lamp \nof 1940 has a distinctively shaped shade in \nspun brass, earning it the nickname ‘Kypärä’ – \nFinnish for ‘helmet’.\nA Celebration of Tynell's Legacy\n",47,{"image":202,"text":203,"number":204},"\u002Fmedia\u002Fimages\u002Fd0\u002F7e5c4d9d529180a7695bb13f91fda8-28fc1b9de9.48.png","95\n94\nRaisonné 03\nA beautifully detailed fusion of crafted precision, classic proportions, and \nnatural material from 1950, the 9205 Table Lamp exemplifies the attention to \ndecorative detail and the delight in fine craftsmanship that Tynell brought to \neven the most simple-seeming forms.\nA Celebration of Tynell's Legacy\n",48,{"image":206,"text":207,"number":208},"\u002Fmedia\u002Fimages\u002Fd0\u002F7e5c4d9d529180a7695bb13f91fda8-28fc1b9de9.49.png","97\n96\nRaisonné 03\nElegantly capturing Paavo Tynell’s affinity with beautiful \nmaterial combinations in its juxtaposition of rattan and polished \nbrass, the 9602 Floor Lamp of 1935 is one of the designer’s \nmost loved lamp designs. \n",49,{"image":210,"text":211,"number":212},"\u002Fmedia\u002Fimages\u002Fd0\u002F7e5c4d9d529180a7695bb13f91fda8-28fc1b9de9.50.png","99\n98\nRaisonné 03\nThe 1972 Pendant expands on a design language Tynell \noriginally developed in 1948, and which he applied to a \nnumber of designs over the decade.\nIn a sustainable update to Tynell’s original aspen material, \nGUBI introduces a range of lampshades crafted from bamboo. \nHand sewn into a pleated mat and fastened by hand to the \nwire frame, the bamboo slats create a diffuse glow around the \nshade as they are penetrated by the light. \nA1972 Pendant, Paavo Tynell, 1948\n",50,{"image":214,"text":215,"number":216},"\u002Fmedia\u002Fimages\u002Fd0\u002F7e5c4d9d529180a7695bb13f91fda8-28fc1b9de9.51.png","101\n100\nRaisonné 03\nIn many of his lampshades, Paavo Tynell used fabrics such as \ncanvas and linen to imbue the light with warmth and softness. \nIn this special edition of the 9602 Floor Lamp, a specially \nselected patterned fabric by Maison Pierre Frey adds a touch \nof the fantastical to one of Tynell’s most celebrated creations.\n \nA Celebration of Tynell's Legacy\n9634 Floor Lamp, Paavo Tynell, 1940s\n",51,{"image":218,"text":219,"number":220},"\u002Fmedia\u002Fimages\u002Fd0\u002F7e5c4d9d529180a7695bb13f91fda8-28fc1b9de9.52.png","103\n102\nRaisonné 03\nIndex\n",52,{"image":222,"text":223,"number":224},"\u002Fmedia\u002Fimages\u002Fd0\u002F7e5c4d9d529180a7695bb13f91fda8-28fc1b9de9.53.png","105\n104\nRaisonné 03\n1965 Pendant\n5321 Table Lamp\n9602 Floor Lamp\nBamboo Shade\nA1965 Pendant\n'Moon Eclipse' Wall Lamp\nK8-11 Wall Lamp\n10333 Wall Lamp\nUN 218 Ceiling Lamp\n'Snowflake' \nCeiling Lamp\n1982 Pendant\n5061 Table Lamp\n9209 Table Lamp\n9602 Floor Lamp\nCanvas Shade\n9205 Table Lamp\nCanvas Shade\n9602 Floor Lamp\nWicker Willow Shade\n1967 Pendant\n1972 Pendant \nLarge\nA1967 Pendant\n9068 'Starry Sky' \nCeiling Lamp\n9464 Wall Lamp\n1972 Pendant\nA1972 Pendant\n9602 Floor Lamp\nPierre Frey Special Edition\n9205 Table Lamp\nBamboo Shade\nIndex\n",53,{"image":226,"text":227,"number":228},"\u002Fmedia\u002Fimages\u002Fd0\u002F7e5c4d9d529180a7695bb13f91fda8-28fc1b9de9.54.png","107\n106\nRaisonné 03\nIn April 2023 at Salone del Mobile, GUBI \nreintroduced the world to a range of iconic \nlighting designs by Paavo Tynell, restored \nto glory after decades out of production.\nLeft: 1967 Pendant, Paavo Tynell\n9209 Table Lamp, Paavo Tynell\nRight: 9602 Floor Lamp, Bamboo Shade, Paavo Tynell\n",54,{"image":230,"text":15,"number":231},"\u002Fmedia\u002Fimages\u002Fd0\u002F7e5c4d9d529180a7695bb13f91fda8-28fc1b9de9.55.png",55,[],0,false,true,{"success":235,"data":237,"meta":454,"count":455,"next":456,"previous":457,"results":494,"brand_chips":555},[238,251,263,276,286,299,312,322,332,341,351,363,373,383,392,402,415,425,435,445],{"id":239,"title":240,"slug":241,"image":242,"source":243,"brand_name":244,"brand":245,"brand_slug":246,"file_size":247,"pages":248,"pages_count":249,"matched_pages":250,"match_count":233,"two_pages":234,"show_text":235},26599,"News 2026","porada-news-2026","\u002Fmedia\u002Fimages\u002Fce\u002Fd99f531b06a46fd5bee10f83389e8c-296fcd1b7e.1.png","\u002Fprivate\u002Ffiles\u002Fc2\u002F62a24ea3de0c50ca2a88817e98c8e9-296fcd1b61.pdf","Porada",394,"porada","9.3 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