This resulted in Aalto entering a pure Functionalist phase which would last for several years, and through which he was able to make an international breakthrough, largely due to the Paimio Sanatorium (1929-1933), which stood as an important Functionalist milestone. Aalto had begun to realise the power of user-friendly, functional design, which would be translated into his architecture. By the late 1930s and beyond, his work became infused with organic influences and the use of natural materials, which increased the freedom in the design of his spaces. 

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'Every house, every product of architecture… should be a fruit of our endeavour to build an earthly paradise for people.'

 

Aalto’s aim in his work was to treat each project like a work of art – being involved in every detail, such as furniture, lighting and fittings. In 1935, Artek was formed to promote Aalto’s furniture, alongside his architecture. His furniture design married functionality with aesthetics and was produced serially. His aim was to encourage more beauty in  everyday life in the home. It was also at this time that Aalto became interested in the use of glass, as it allowed him greater freedom in creating form. In 1936, he won a glassware design competition which lead to the birth of his famous Savoy vase. 

 

From the 1950s onwards, Aalto’s projects were mainly public buildings, large scale and incredibly urban, even brutal. He also endeavoured to work more and more in countries other than Finland, and a number of both private and public buildings were erected to his design. His widespread influence on design still resonates today as his works influence the ever-changing world of architecture and furniture alike.