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Collection’s diary

Vilen Künnapu, 1981. EAM 41.1.11

House in Tallinn

The reason architects from the Tallinn School were fond of axonometric projection is that such drawings are object-centred. Unlike the viewerspecific perspective, this viewpoint places emphasis on the relations of the object with its different parts, i.e. the measurements of floors and walls and the distance between such elements. This leads to a different perception of space – stairs that have been divided at the top and disappear into the unknown and multilayered patterned rooms. This is proof that axonometrical drawings can be used to convey complicated spatial structures. The coloured pencil drawing was donated to the museum by Vilen Künnapu in 2005. Text: Sandra Mälk

August Volberg, Edgar Velbri, 1935. EAM 31.1.66

Competition entry for the tuberculosis sanatorium in Taevaskoda

Sanatoriums were part of a healthy lifestyle that was promoted in the 1930s. Untouched natural environments started to be taken under protection as well as Taevaskoda in Põlva County in 1935. The architecture competition for skeletal TB sanatorium, held soon after, aimed to find a building fitting the environment to serve as a health institution. The first prize was given to a pair of renowned architects. Prominent shadows and a strong ink line in the drawing indicate that they were influenced by modern industry and technology. The building was designed for 90 patients and also housed the open-air school for children with pulmonary disease. The drawing was donated to the museum as a part of the archive of August Volberg by Heili Volberg in 2001. Text: Sandra Mälk

Vello Asi, ca 1960–1964. EAM 4.14.4

Interior design of the Composers’ house in Tallinn

The drawing by interior designer Vello Asi depicts a view of the vestibule of the Composers’ House (architects Udo Ivask and Paul Härmson, completed 1964) located on Lauter Street in Tallinn – straight from the street through a big window. The aerial-looking interior with eye-catching low-sitting furniture is designed in the spirit of the 1960s. As was characteristic of the era, the interior designers picked up pointers from Nordic architecture literature that had just become accessible. This new approach to interior design valued open space, horizontal lines and light furniture that could be moved around with ease; it also favoured an inclusive environment to facilitate spending time in passable rooms. The drawing made with ink and watercolours was acquired by the museum in 2017. Text: Sandra Mälk

Avo-Himm Looveer, 1982. EAM K-48

August storm in architecture

The massive development of whole areas of prefabricated apartment houses in Tallinn during the 1970s and 1980s questioned the relationship between the new dwelling districts and the historical layers of the city. In criticisms of these general trends, it was suggested that architectural additions in a good living environment should consider the plurality of the urban fabric. In Avo-Himm Looveer’s work, monolithic elements seem to be sinking in the sea, with the skyline of Tallinn’s Old Town in the background, referring to the rapid development of Lasnamäe. In the architect’s vision this development moves beyond the boundaries of the residential zone and shows the artificial environment on a global scale. Its destruction by the forces of nature, on the other hand, refers to a breakthrough in how architecture is considered. The watercolour was acquired in 2010. Text: Sandra Mälk

Toomas Rein, 1983. EAM 48.2.9

House Nirvana

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

1975–1978, Helle Gans. EAM 4.14.2

Interior design for the Trall kindergarten in Pärnu KEK

The interiors of the nursery school and crèche situated in the Pärnu Kolkhoz Construction Office residential quarter is one of a kind. The dynamics of the corridors, arising from the colour patterns from the signs in the ceiling, helped and directed children to the rooms of their group. The drawing contains several views. The layouts of the corridors are complemented by a group room in axonometrical view, which was furnished with expressive colourful furniture upon completion. Interior architect Helle Gans was guided by the realization that children reducen everything to the level of play. For that reason, the fold-out furniture and interior design are both functional and playful, stimulating children’s imaginations. The kindergarten displayed here is in line with the modern concept of the Pärnu KEK campus and takes after the pop-like infographic (Villu Järmut and Taevo Gans) of the inner street of the terraced apartment building Kuldne Kodu (Golden Home). In the year 2008 Andres Ringo gave the drawings to the museum. Text: Sandra Mälk

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Eugen Habermann, 1920–1921. EAM Fk 3105, Fk 15852

Workers´ housing in Kohtla-Järve

The Siidisuka neighborhood located in Kohtla-Järve has a garden city concept. The housing scheme was commissioned by the Estonian Oil-Shale Factory for its employees and built between 1920–21 according to the design of Eugen Habermann. This was one of the first urban concept in the life of the newly formed city. The name Siidisuka – which means Silk Stocking – shows the status of the habitats whom most were the leaders, engineers, and officers of the oil company and could afford buying silk instead of cotton fabrics to their family. The semidetached dwellings have unified concept with 4-5 different type of plans. The appearance of the houses are formed by the traditionalist trend and vernacular tendencies. In this case the architect blended the motifs of the modern architecture with characteristics of the local vernacular aspects such as the use of the rusticated limestone. The most characteristic elements are the precipitous sloping roofs and screwed pilasters. The buildings are linked with a perpendicular secondary house that divides inner and an external yard. The decorations on the façades, for example the typical zig-zag motifs show the influences of the architecture of the german expressionism. The photos were acquired by the museum in 1996 and new photos made by Martin Siplane in 2009 for the museum exhibition. Text: Anna Zsoldos