Tallinn Song Festival Arena (sketch)
Alar Kotli, 1957-1958. Accession number 23-1-51
The Tallinn Song Festival Arena represents the re-arrival of modernism to Estonia during the Khrushchev Thaw. The Estonian SSR leadership commissioned the structure to mark the 20th anniversary of Soviet rule, but to Estonians, it was a symbol of their nationality and culture. The Song Festival Arena was essentially also a way of the nation thumbing its nose at the USSR – with its completion, Estonians’ nearly 100-year tradition of holding mass song festivals was immortalised. Alar Kotli came close to an entirely innovative final solution already when making his initial sketches, which include a saddle-roof in the shape of a hyperbolic paraboloid that functions as an acoustic screen. The sketches were donated to the museum by Anu Kotli in 1997.
Dr Spock’s residence
Tiit Kaljundi, architectural competition 1975, perspective drawing 1984, unrealised. Accession number K-53
Tiit Kaljundi’s relationship with Soviet Estonia’s official architectural scene was conflicted, as one may have expected from an avant-garde artist. The ruling power saw monotonous mass apartment blocks as a simple opportunity to ease the deficit of dwelling-spaces. For Kaljundi, however, it was a situation that dampened creativity and encouraged a superficial attitude towards the residential environment, to which he responded with a starkly opposite project – the post-modernist villa. The design, which was originally entered in the magazine Japan Architect’s “House for a Superstar” competition in 1975, was dedicated to famous American doctor Benjamin Spock, whose childrearing book was widely read in Estonia at the time. This version was drafted for an exhibition highlighting the “Tallinn School” of architects, which was held in Finland in 1984. Kaljundi’s protest against the Soviet Union’s rigid, anonymous building culture is obvious. By creating an analogy between construction-stages and life-stages, he clearly expresses the opinion that man and architecture are not separable. The house and the concrete-sidewalked property around it symbolised the various stages of life. Kaljundi’s drawing presents the structure from an axonometric perspective, which enables its imagination in a three-dimensional scale on a two-dimensional surface.