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page110from Nordic Architects WritesCIAM group in founding the new international journal Le Carré Bleu, which had its head office in Helsinki.19 Blomstedt also offers new potential and a fresh, modern and rational explanation to the idea long held to be too romantic, of beauty that pleases the eye, by combining architectural dimensions with human dimensions, architectural harmony with the harmony of musical intervals, and thus architecture with the age-old natural philosophy of Pythagoras and the universal logic of nature. The long-awaited Modernism has now been realized but the promise of modern architecture has been greater than the results that can be seen in the surroundings. Finnish Modernist architecture receives a shot in the arm from Blomstedt, insofar as architecture now becomes a matter of carrying out a huge synthesis, and architects become “the last profession of synthesists in a specialized world”.29 Juhani Pallasmass, one of the leading figures in the emerging constructivist view of architecture, writes enthusiastically in 1966 in a biting criticism of the architecture of Reima Pietilä, which favours rather more free-form themes from nature: “Art and architecture are not a matter of subjective arbitrariness, but of arranging forms in a complex and high-quality manner.”21 Blomstedt becomes a leading rationalist and constructivist figure, and the right angle becomes the norm for the new architecture, directly related to the laws of nature. The reflections of Osmo Lappo, Reima Pietilä and Kirmo Mikkola bring their own perceptive views to this arrangement of ideas. In 1968, the era of student revolt begins and in Finland too, the students in the Department of Architecture at the Helsinki University of Technology take to the barricades with red flags flying on behalf of democratic study environment and a curriculum that takes on social problems.22 Robert Venturi’s Complexity and Contradiction in Architecture is reviewed in Arkkitehti and the time of heroic modernist monuments is briefly over: attention focuses on international politics, social inequality, the decay of western society, scientifically based design and criticism of the élitist concept of architecture personified by Alvar Aalto. The architecture Osmo Lappo, known as a pragmatic and sensible designer, takes over the job of professor of public building design at the Helsinki University of Technology in 1967, never doubting he will have to face up to criticism from the younger generation of architects. He turns the still topical question of flexible dimensioning and human scale away from form-giving towards the practical design and building process. More fundamental than the argument about the best possible system of architectural expression is the question of multiple use and adaptability in buildings. There are obvious points of contact with the thinking of Christopher Alexander, after all Lappo approaches architecture as a matter of logic in resolving the problem between the information given at the start and the final result, not as a psychological problem besetting the creative artist. However, whereas Alexander exhorts architects to think about the image of the starting point and concentrate on careful and precise research into the requirements set for the design, Lappo trusts the professionally skilled architect and the splendid culture of Finnish architecture. For him, architecture is above all a matter of serving the public: “of creating people’s entire living environment, of giving form to all those spaces where human activities take place”.23 Thus, Lappo in his interpretation turns Blomstedt’s rationalist architecture into a rationalist design approach, which suddenly no long excludes the artistic quality caught up in the rumbling scientific-techno-political revolution.
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