Tag Archives: axonometry

House Nirvana

Toomas Rein, 1983. EAM 48.2.9

The house was designed for folk healer Vigala Sass in Saaremaa and contains a number of spiritual symbols. The client wanted to make it a refuge for supernatural powers. The leading motif of the room plan is founded on the four astrological main elements and the golden ratio. Rein has emphasised the artistic value of the work: axonometry is complemented by other ways of depiction in architecture; sections, plans and views are added from the corners on two sides of the house. Such architecture graphics can be seen as a desire to step away from the common official design practice and to take the role of architectural drawings to another level. The art piece was donated to the museum by Toomas Rein along with his other works from the 1980–1990s. Text: Sandra Mälk


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Dr Spock’s residence

Tiit Kaljundi, architectural competition 1975, perspective drawing 1984, unrealised. MEA 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. Text: Sandra Mälk


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