Tag Archives: India ink
Interiors of the Estonia Theatre and Concert Hall
Armas Lindgren, Wivi Lönn, 1912. EAM 4.1.1
These watercolour drawings of an art-nouveau and classicist restaurant, library, and foyer were part of an entry package for the Estonia Theatre and Opera House’s architectural competition. The theatre building became a chief national symbol, a cultural citadel and one of the largest structures in Tallinn at the time. The foyers are adorned with mascarons; majestic chandeliers; and fashionable, fluted new-classicist pilasters, which were a novel phenomenon. Still, the final design of the national theatre’s foyer was slightly altered. The original theatre was destroyed in the March 1944 bombing of Tallinn, then restored according to a design by Alar Kotli (completed 1953), which replaced the original art-nouveau interiors with classicist Stalinist design. Drawings were acquired from the institution of “Eesti Ehitusmälestised” in 1993. Text: Sandra Mälk
Dwelling of family Kangur
Peeter Tarvas, 1950s. Accession number 40-1-82
There is a recognisable style to the dwellings erected in Estonia’s immediate post-war years. These stone buildings with tall gabled roofs and raised gutter-lines can be found all across the country. Their construction derives from traditional German heimat architecture, intended to give residents a cosy sense of home with the help of small elements such as romantic shutters. The style also pleased the Stalinist regime: it was sufficiently unlike the dominant pre-war flat-roofed structures, which carried “unfit” Western European values. The project was donated to the museum by Maria Tarvas along with many materials from the family collection in 2006.
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.
Johannes Orro’s dwelling at Raudtee Street in Tallinn
Edgar Velbri, design 1932, constructed. Accession number 14-1-46
Bustling Nõmme had already grown from a holiday village to a reasonably-sized town (possessing town privileges from 1926–1940, after which it became a district of Tallinn) when café-owner Major Johannes Orro presented the design for his new building to the town government in 1932. True to the era of thriving small businesses, the ground floor of the residential building in the Kivimäe neighbourhood housed a bakery – an unquestionably successful venture, given its close proximity to the railway station. The design was drafted by young architect and Tallinn Technical University student Edgar Velbri, who was fascinated by old-fashioned architecture; probably a result of his summer internships at the Estonian National Museum, during which he surveyed Estonian farm structures. The hipped roofs, romantic shutters, and vertical siding characteristic of Estonian agricultural architecture later carried over into the architect’s personal style. Complementing such features with his talent for creating functional floorplan solutions, Velbri gained great public favour and demand, and his cosy structures gained their own nickname: “Velbri houses”. This single-page ink drawing on tracing paper is a typical 1930s residential design project, which was submitted for official approval along with an explanatory letter.