finnish modern


Hanna-Liina Võsa is the first Christine to appear in two different non-replica production; first in Estonia (2014-15), and then in Finland (2015-16). 

Here’s comparing photos of her from Estonia (left) and Finland (right).

MODERN MYTHOLOGY: Mielikki (goddess of the hunt and forests)

she’s the girl with leaves in her hair and thorns in her heart. she is not known for her kindness towards human, because she got little empathy for those who cut down her trees and slaughter her animals. but she’s always kind to the animals of the forests. people beg her to use her healing powers to save the lives of humans, but she is used to refusing their prayers. she will only help those who cannot help themselves, so she can be found in the forest, gently healing and always helping. by now, she’s used to stitching up the paws of bears, carefully carrying small birds back to their nests, crafting new wings for owls and picking rose thorns from wolf paws. she can’t help herself. it’s just who she is, and she is far too invested in her forest to ever leave its side.

Karhula Vase
Alvar Aalto (Finnish; 1898–1976)
Rafaela & Kaj Forsblom Collection. © All rights reserved


House Riihi by OOPEAA Architects is situated in Finland, and uses minimal scandinavian design to produce a functional and warm yet beautiful home among the trees. A modern twist on a traditional Finnish farm, three buildings are arranged to protect a courtyard from wintry gusts.

Source: Dezeen Magazine

Finnish Pavilion at the 1939 World’s Fair (New York, USA: 1939) by Alvar Aalto

It’s fitting that a man often called one of Finland’s greatest architects would cap his most successful decade of work with a structure that celebrated his country’s contributions to the world. Within the compact, four-story structure, photos of landscapes, people and products looked out over curvaceous, wood-slatted walls, a flowchart of Finnish industry capped off by airplane propellers spinning like fans from the ceiling.



in 1978, Finnish architect Matti Suuronen (1933-2013) was commissioned to design a group of 36 centrally-planned vacation houses, financed by a local executive in the plastics industry, in the seaside town of Shanzhi, outside of New Taipei City, Taiwan. Known for his space-age Venturo and Futuro Houses of the 1960s, Suuronen pioneered the use of plastic, polymer resins and fibreglass supported by reinforced concrete, as well as prefabricated, modular units, in residential architecture. Although the project was nearly complete, in 1980, construction was halted when the developer went bankrupt .

The project languished until 1989, when a group of real estate speculators bought the property with the intention of finishing the houses, but they too went bust. In the decades that followed, the unfinished, abandoned structures fell into disrepair and were vandalized, but the their striking appearance, which was highly unusual for the region, became a favorite destination of photographers of “future” ruins. The UFO houses were also used as locations in dystopic films and several music videos.

Despite the site’s growing cult popularity, Suuronen’s stature and the architectural significance of his designs–not to mention their failure to obtain permission from the three banks that owned the property, the local government voted to demolish the UFO Houses in 2009 and in 2010 they were razed, as are many noteworthy buildings from the 1970s that have yet to attain historic monument status.

Crescent Moon sterling silver pendant by Tapio Wirkkala (Finland, c.1972) and a Buckeye maple burl, American black walnut, rosewood low table by George Nakashima (USA, c.1977). / Instagram


siperian style shaman drum por Merja Waters