Open today 11–18
Collection’s diary

Interior architect Aala Buldas, 1970–1980. EAM 4.7.17

Café Neitsitorn (Maiden Tower)

One of the most unique defensive towers of the Tallinn city wall, the quadrilateral Neitsitorn (Maiden Tower) was restored in the 1970s. The Maiden Tower together with Kiek in de Kök were defensive structures of crucial importance in the defense of medieval Tallinn. However, after the loss of the status of Tallinn as a fortress city, the centuries-long defense function of the wall towers changed, and in the 19th century the wall towers were rebuilt into dwellings, as did the Maiden Tower. The two-storey residential building became a home for renowned artists and writers, whose apartments had several studio rooms. In the early 1970s, field research on the Tallitorn (Stable Tower) and the Maiden Tower began in order to find a public function for the building. The work was encouraged by the forthcoming Olympic regatta. During the reconstruction of the Maiden Tower, about half of the structure was rebuilt almost as new. The building was given a new floor, underground utility rooms and an impressive glass wall on the Old Town side. The Café Neitsitorn was situated in the new premises, which opened its doors to the public in 1980 and immediately became a big hit. The authors of the tower’s reconstruction design were an architect Tiina Linna, an art historian Villem Raam, and the café’s interior design was made by Aala Buldas. In 2022, the drawings were donated to the museum by Eva Mölder from the restoration company Vana Tallinn. Text: Sandra Mälk

Architect Villem Tomiste, AB Kosmos 2004. Model: Paco Ulman. EAM MK 121

EMA 30 / Tiny tour of models: Villa in Hiiumaa

A futuristic-looking villa planned in the seaside village of Õngu on the west coast of Hiiumaa. The private house is characterised by an accentuated artificiality. There are no aligned walls or ceilings parallel to the floor. Variously shaped openings cut into the fractured surfaces, offer views of the surrounding unspoilt nature. The living and dining room on the second floor of the building, designed as a single flowing space, is open to the seafront reeds, with a wedge-shaped staircase leading to it from the terrace. This private house has not been built. The model was donated to the museum in 2005. Text: Anne Lass

 

Vilen Künnapu, Ain Padrik, 1987. EAM 41.1.16

Vanalinnastuudio theatre building in Tallinn

Comedy theatre Vanalinnastuudio, which started out in Tallinn Teachers’ House, became so popular under the leadership of the legendary theatre director Eino Baskin that in the mid-1980s there was an idea of building the theatre its own house in the Old Town. The beginning of Viru Street had a plot that had long been vacant (currently the De la Gardie shopping centre, 1999) and it was considered as one possible location for the building. The theatre house was designed as a black box theatre with seats for 200 people and an attic storey for lowering decorations to the stage below. The postmodernist building was never constructed under the new political regime. The display board together with the section and view was given to the museum in 2005 by architectural historian Liivi Künnapu. In addition to that, last year the architecture office Künnapu&Padrik donated their drawings and digital archive to the museum. The lot, consisting almost 200 projects, is in the final process of adding to the musem’s collection. Text: Sandra Mälk

Mart Port, 1956. EAM 10.4.12

Visit to the Building Ceramics’ Factories in Kyiv

The aim of Mart Port’s creative business trip (1956) was to study whether it would be possible to increase the quality and speed of industrial construction in the field of intensified mass housing construction. During the month-long trip, he passed various cities on his way from Tallinn to Ukraine and back: Riga, Kaunas, Vilnius, Lviv, Ushgorod, Kyiv. In the report of the business trip, the architect concludes that in Latvia and Lithuania, for example, the construction methods related to the construction of mass housing are quite similar here, but the tiles used for the exterior façades, which were produced in Kyiv, deserve special attention. From there he took detailed pictures for the report. He was particularly impressed by the lining of local clay tiles of the “Kabanchyk” type, developed at the Kyiv Academy of Architecture. The “kabanchyks” were light tiles, partly hollow, which were installed on the wall using small and hanging scaffoldings. The architect already knew that in Estonia it is possible to obtain the white clay needed for its production from the Joosu quarry in Võru County. During the trip, he visited the Keramik and Keramblok ceramic tile factories and the red clay mine of the latter. The Ukrainians, who have a long tradition in the clay industry and building ceramics, also introduced him to a experimental ceramics plant under construction at the Kiev Academy of Architecture, where new prototypes used in construction were completed. In the report, he pointed out that knowledge was shared bilaterally. The builders of Kyiv, Minsk, Vilnius and Riga had got acquainted with the method of covering the walls with granite plaster used in Tallinn and praised the innovativeness of this method. Text: Sandra Mälk

Valve Pormeister, 1979. EAM MK 248

EMA 30 / Tiny tour of models: Estonian Agricultural Academy (currently Estonian University of Life Sciences) in Tartu

The construction of the new building complex for the Estonian Agricultural Academy in Tähtvere at the north-western border of Tartu was already launched in the 1960s. The Faculty of Forestry and Agricultural Mechanics building, designed by architect Valve Pormeister, was completed in 1983. This was one of the largest new buildings in Tartu, and the one with the most complex layout. The building consists of two contrasting structures intersected by three trapezium-shaped courtyards. The stepped main facade is articulated by round windowless stairwell towers, while the part of the building facing the river has a more laconic design. The massive circular auditorium was never built. The model was handed to the museum by the Estonian University of Life Sciences in 2019. Text: Anne Lass

Anton Klevchshinsky, Feodor Yenakiyev, 1892–1893. Scale model: J. Kangro, K. Asik (woodwork), Krasimoshev, O. Sakker (metalwork), 1899. EAM MK 61

EAM 30 / Tiny tour of models: Tallinn harbour grain elevator

In 1893, a huge 6-storey limestone grain elevator with a 30-metre tower was completed on Viktoria quay at the harbour in Tallinn. At the time it was one of the largest and most modern in tsarist Russia, holding more than 3,000 tons of grain that could be mechanically loaded directly from wagons to ships. The elevator was designed by architect and academic Anton Klevchshinsky and engineer Feodor Yenakiyev, both from St Petersburg. A model of the building was completed in 1899 and was shown a year later at the 1900 Paris Exposition. The model is extremely detailed, there are various mechanisms in the interior that were originally able to move. The scale model’s journey to the Museum of Estonian Architecture has been a long one. After the exposition in Paris it was given to the Museum of the Ministry of Transport in St Petersburg. In 1971, the model came to Estonia and for 30 years was on display at the Railway Museum in the main building of Baltic Station. From there it found its way to the Estonian History Museum which, in 2000, donated the model to the Estonian Museum of Architecture. The model was restored by Kanut restorers. Text: Anne Lass

Document of the EEA,1989. EAM 10.4.9

Festive document for the re-establishment of the Estonian Association of Architects

The Estonian Association of Architects was the first of the creative associations to strive for independence in the late 1980s and to break away from the all-union USSR Union of Architects. The first groundbreaking decision was taken one day in November 1987, when a meeting was held to discuss the association’s activities. The architects decided that from now on the beginning date of the creative union should no longer be known as 1944, but the day of the establishment of the Estonian Union of Architects on October 8, 1921. The following year, by the initiative of architect Leonhard Lapin, the union decided to continue as an independent association. For this, a ceremonial document was drawn up in 27 June 1989. This beautiful document with a calligraphic text and the signatures of the architects made it possible to summon the official charter that was registered in November 1989. By this general assembly of the EEA selected the first board and architect Ike Volkov as the first chairman of the association. The master of the leatherwork that holds the paper document together is Aime Pralla. The EEA gave the document to the museum for the safekeeping in 1998. Text: Sandra Mälk (click on the image to see more photos)