An Alvar Aalto table is surrounded by a quartet of the designer’s Chair 65.

Architects Mayer Sattler-Smith designed the bookshelves and Alvar Aalto the 406 lounge chair for Artek.

Alvar Aalto at work.

Aalvar Aalto Sitting on a Paimio Chair in the 1930s This photomontage shows the designers relaxing on a chair he constructed for the famous Paimio Sanatorium project. A lighter pieces constructed of bent plywood and still manufactured by Artek, the chair was meant to help the tuberculosis patients in the institution breather easier.

Paimio Armchair N°41 (1932) A different view of Aalto's famous bent birch chair.

Villa Mariea Interior Aalto's use of birch logs of varying length helped bring the surroudning forest inside the villa, and supported both the structure and the naturalistic motif.

The structure was stripped down to the original wood surface, including the diagonal paneling that has previously always been covered with white fabric, revealing a trace of the building’s structural integrity and construction process. Photo by Gianni Talamini.

The finished effect is like being inside of an instrument, where light is allowed to play off of the varying ages of wood. The pavilion has an entirely new life, yet remains honest to Aalto’s original construction. Photo by Patricia Parinejad.

Pendant Lamp A 331, Beehive (1953) These lamps were first introduced as part of Aalto's work on the University of Jyväskylä.

Here's the Giardini tree that fell on top of the pavilion in 2011. Photo by Ross Hamilton.

All of the panels that make up the enclosure were removed and painstakingly repaired. At the conclusion of the restoration project, the panels were made from a combination of the original wood from 1956 and new wood from 2012. Together, the materials create a beautiful new texture that reveals the processes of both the original building and its reinvented self. Photo by Gianni Talamini.

Originally prefabricated in Finland and shipped for assembly to the Giardini—the gardens where the Biennale takes place—the lightweight wood-frame-and-panel structure was a built to capture light from above and bounce it indirectly onto the interior walls. Aalto designed the structure to be dismantled, stored, and reassembled as needed between exhibitions, or on other sites. According to the story, several of the parts were missing upon arrival and therefore the panels were fixed in place during its initial construction. As Aalto’s only building in Italy, this ephemeral structure became permanent and was regarded as a national treasure.

The floor of the building was polished to reveal the natural aggregate of the concrete. To indicate the line where fabric previously covered the natural wood paneling, Talamini used a light whitewash to ever so slightly change the color of the wood. Photo by Gianni Talamini.

1936Tea Trolley 901 by Alvar Aalto for Artek.

Architect Gianni Talamini (in blue) with curator Juulia Kauste and exhibition designer Esa Vesmanen stand in front of the restored pavilion. As high-modern structures begin to age, architects around the world are now confronted with how to restore them. Fitting with the theme of this Biennale, preservation challenges encompass another “common ground” in the built environment. This project provides a model for how to retain the spirit of original structures while restoring their performance as a building. Photo by Patricia Parinejad.

1932Armchair 41 by Alvar Aalto for Artek.

This view of ceiling reveals the varying wood textures. Photo by Gianni Talamini.

Talamini paid attention to the subtlest details. The panels were sanded by hand, the roof structure was stripped of its paint, and the plywood roof panels were sandblasted, leaving the entire interior stripped bare of finish, revealing the natural raw wood. Photo by Gianni Talamini.

The exterior wall panels were carefully separated from the primary structure. Photo by Gianni Talamini.

The ten-week-long renovation wrapped up just before the Biennale’s opening on August 29. Aalto’s hand is still very much present in the restored building. Photo by Patricia Parinejad.

Aalto on his boat Nemo Propheta in the 1960s.

Iran Museum of Modern Art, Shiraz, Iran (1969–1970) The concept for this never-completed museum, which got as far as the model phase, consisted of a stepped series of rooms rising out of the rocky plateau above the Iranian city.

Door Handle by Alvar Aalto Believing that grasping a door handle is akin to shaking hands with a building, the Finnish architect paid great attention to user interaction. Leather-wrapped door handles were but one of his methods of offering a welcome touch.

The Siena Apron draws from the iconic textile pattern designed by Alvar Aalto for Artek in 1954. The bold and graphic red and white pattern adds playful charm to the kitchen of both the modern and traditional chef. The Artek Siena series was inspired by lively family meals in Siena, Italy, and includes placemats to create a cohesive kitchen. The Siena series of textiles is currently on sale for 15% off at the Dwell Store until 10/25/2016.

Vintage Alvar Aalto Table Model 91 “I thought it would be interesting to include a piece of vintage furniture, since that’s where we got our start. It’s a bold and big table for such a restrained designer, with chunky legs and decorative veneer. It’s big for 1930’s standards, and still has labels and stickers on the bottom, including one from Harvey Nichols, the original importer.”

Housing at Sunila Pulp Mill, Alvar Aalto, 1936. Photo by Pat McElnea. Images provided courtesy The Irwin S. Chanin School of Architecture Archive of The Cooper Union.

Drawing inspiration from the beauty of the natural world, the undulating shape of each Aalto Vase alludes to the untamed shorelines of Finland's thousands of lakes. The Aalto Vase is decidedly sculptural, making it as much a striking visual accent when left empty on a tabletop or shelf as when it is filled with freshly cut flowers. Each Aalto Vase is mouthblown in the Iittala glass factory and is designed to mimic the water that it contains, creating a distinctive and artistic accent piece.

Saynatsalo Town Hall, designed by Alvar Aalto in 1952.

Living Room, Maison Louis Carre in Bayzoches-sur-Guyonne, France (1956-1951) Aalto designed this private residence for an acclaimed French art dealer in a secluded location 40 kilometers from Paris. The living room, filled with furniture specially built for the home, exemplifies a balance of textures and space and provide sweeping views of the outdoors.

The patients' wing and solarium terraces at the Paimio Sanatorium, Finland, Alvar Aalto, 1928-32.

Store your umbrellas with a sculptural, refined accent. Designer Alvar Aalto interprets his iconic sculpted birch form into a utilitarian and elegant umbrella stand. Made from shaped, naturally lacquered wood with a brass tray base to catch extra moisture, the Umbrella Stand 115 is a stylish resting place for rainy day necessities.

The almost-entirely tallowwood kitchen is custom. Muuto pendant lights, bar stools by Alvar Aalto for Artek, a Vola faucet, and a ceiling fan by Beacon Lighting finish the room.

Custom bunk beds in the kids’ room were designed by ALAO and fabricated by Amber Construction & Design. The quilts are from Cold Picnic and the stool is by Alvar Aalto for Artek.

The couple’s ten-year-old twins have connecting rooms next to a play space furnished with Aalto stools, a table from Artek, and a Nanna Ditzel rattan hanging chair purchased at Interstudio.

Finnish Pavilion, 1939 World's Fair, designed by Alvar Aalto. Gelatin silver print. Carnegie Museum of Art, Purchase: gift of the Drue Heinz Trust. Image courtesy of Carnegie Museum of Art, copyright Ezra Stoller/Esto, Yossi Milo Gallery.

A true icon of functionalist furniture design, the Stool 60 was originally designed by Alvar Aalto for Artek in 1933. Notable for the distinctive bend in the legs, the stool became a signature of Aalto’s work, as his subsequent furniture designs feature these defined leg bends. This Anniversary edition was released in conjunction with the design’s 80th birthday in 2013.