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RUUMI PILT / 2012

Eesti parimad interjöörid ja disain estonia’s best interiors and design


Ruumipilt Eesti parimad interjöörid ja disain 2012 Estonia’s Best Interiors and Design 2012 ESL/Estonian Association of Interior Architects

koostaja ja toimetaja/compiler and editor Tüüne-Kristin Vaikla kujundaja/designer Margus Tammik/Plank töögrupp/project team Aet Seire, Tiiu Truus, Urmo Vaikla projektijuht/project manager Kadri Kaljumets tõlge inglise keelde/translation into English Peeter Alan Tammisto eesti keele toimetaja/Estonian language editor Tiiu Kokla korrektuur/proofreading Kadri Liimal portreefotod/portrait photographs Renee Altrov trükikoda/printing house

Tallinna Raamatutrükikoda väljaandja/publisher Eesti Sisearhitektide Liit Estonian Association of Interior Architects Tallinn 2013

ISSN 1736-4493 © Eesti Sisearhitektide Liit


RUUMI PILT / 2012 Eesti parimad interjöörid ja disain

estonia’s best interiors and design


Eesti Sisearhitektide Liidu 2012 aastapreemiate 탑체rii/ Estonian Association of Interior Architects 2012 annual awards jury Kaido Kivi sisearhitekt ja 탑체rii esimees/ interior architect and chairman of the jury Mari Kurismaa sisearhitekt ja kunstnik/ interior architect and artist Triin Ojari arhitektuurikriitik/architecture critic Tarmo Piirmets sisearhitekt/interior architect Raivo Puusepp arhitekt/architect Tea Tammelaan sisearhitekt/interior architect Igor Volkov disainer/designer


6 EESSÕNA/FOREWORD Tüüne-Kristin Vaikla

92 KAUBAMAJA NAISTEMAAILM/ TALLINN KAUBAMAJA LADIES´ WORLD Külli Salum, Riina Harik

8 SISEARHITEKTUURI MITU ELU/ THE MANY LIVES OF INTERIOR ARCHITECTURE Triin Ojari

avalik ruum/public space 14 TARTU ÜLIKOOLI NARVA KOLLEDŽ/ UNIVERSITY OF TARTU NARVA COLLEGE Hannes Praks, Kadri Tamme, Kristjan Holm, Liisi Murula, Toomas Pääsuke, Ahti Grünberg, Daniel Marius Reisser, Helen Sarapuu

näituse kujundus/exhibition design 100 „RIIGIKOGU HOONE 90”/ “ESTONIAN PARLIAMENT BUILDING 90” Janno Roos, Andres Labi 106 POPUP SHOP „DISAIN, LOOMULIKULT!”/ POPUP SHOP “DESIGN, NATURALLY!” Margit Argus, Margit Aule

112 „VETTPIDAVAD ALLIKAD”/ 24 TLÜ BALTI FILMI- JA MEEDIAKOOL/ “WATERTIGHT SOURCES” UNIVERSITY OF TALLINN BALTIC FILM AND Janno Roos, Andres Labi MEDIA SCHOOL Kadi Karmann, Ville Lausmäe 116 „SIIN ME OLEME!”/“HERE WE ARE!” Hannes Praks, Toomas Pääsuke, 32 LENNUSADAM/SEAPLANE HARBOUR Helen Sarapuu Andrus Kõresaar, Olga Batuhtina, Raivo Kotov, Margit Argus, Margit Aule, Indrek Mikk ese/object 40 TARTU ÜLIKOOLI VARAKAMBER/ THE TREASURY OF THE UNIVERSITY 124 VÄLINÄITUSE STENDID/ OF TARTU OUTDOOR EXHIBITION STANDS Margit Argus, Margit Aule Gert Sarv, Galina Burnakova, Loreida Hein 48 TALLINNA TELETORN/ 130 MÖÖBLIESE POPUP WRAPUP/ TALLINN’S TELEVISION TOWER PIECE OF FURNITURE POPUP WRAPUP Andrus Kõresaar, Liis Lindvere, Kairit Sõlg, Mari Sollman Raili Paling, Margit Argus 134 MOODULMÖÖBLISÜSTEEM L.E.S.S./ 56 ÖÖKLUBI BONBON/ MODULAR FURNITURE SYSTEM L.E.S.S. BONBON NIGHTCLUB Loreida Hein, Kard Männil, Timo Subbi Peeter Klaas, Ville Lausmäe 62 EESTI ENERGIA ESINDUSED/ EESTI ENERGIA BRANCHES Janno Roos, Andres Labi, Liisa Põime 68 BÜROO TURVATEHNIKA/ TURVATEHNIKA OFFICE Ville Lausmäe, Kadi Karmann 74 BÜROO PIRITA TEEL/ OFFICE ON PIRITA ROAD Aet Seire, Hillar Mänd 80 BÜROO IGNITE/IGNITE OFFICE Priit Põldme, Reet Sepp 86 KAUBAMAJA LASTEMAAILM/ TALLINN KAUBAMAJA CHILDREN´S WORLD Janno Roos, Andres Labi, Liisa Põime

140 LASTE- JA NOORTEMÖÖBEL MURUUM/ MURUUM FURNITURE FOR CHILDREN AND YOUNG PEOPLE Anu Vainomäe 144 VAIBASEERIAD POHL; POHL.BETOON/ CARPET LINES COWBERRY; COWBERRY.CONCRETE Monika Järg

tudengipreemia 2012/student’s award 2012 148

IVO RANNASTE


Valik Eesti Sisearhitektide Liidu 2012. aastal realiseerunud projektidest on kaante vahel, mis annab hea ülevaate professionaalsetest töödest, sisearhitektidest ning tellijatest. Silmatorkavalt elujõulised on muuseumid ja näitused, mis on inspireerinud sisearhitekte loomingulisemale eneseteostusele. Lennukad on ülikoolide funktsionaalsed ruumilahendused. Seekordse raamatu visuaalse pildi loovad interjöörifotodele lisaks ka hoonete välisvaated, samuti detailifotod ning autorite visandid, plaanid, lõiked. Autorid saavad isiklikult sõna oma mõttekäikude kirjeldamiseks loome- ja ehitusprotsessis. Lõpptulemust kommenteerivad kriitiliselt ja humoorikalt arhitektidest, fotograafist, arhitektuuriloolastest ning sisearhitektidest kolleegid žüriiliikme pilgu läbi. Tellija rolli on raske ülehinnata ülesande püstitajana ja seejärel realiseerijana. Sisearhitekti väljakujunenud isikupära väljendub oma käekirjas ka väga erinevate ruumide kujundamisel jõulise natuuri puhul. Õnnestumise eelduseks on hea kommunikeerimisvõime, piisav aeg häälestumiseks, julgus kõhklusteks ja katsetamiseks ja vajaduse korral ka ümbermõtestamiseks. Kindlapeale minek ei saa olla omaette eesmärk – vaataja tunneb selle kohe ära. Ruumimõju loomine ja sisearhitektuurne projekteerimine on sisearhitekti pärusmaa, mis on justkui sarnased mõisted, kuid eeldavad autorilt mitmekülgseid oskusi ja isikuomadusi, ehituslikku kogemust ja tugevat kunstnikupositsiooni. Ruum võib paikneda ajaloolises hoones või majas, mille projekt on alles arhitekti töölaual. Suhestumine nii ühe kui teisega on justkui iseenesestmõistetav, sest meie väikeses Eestis ei ole spetsialiseerumist ühe või teise hoonetüübi kujundajaks, olgu see haigla või koolimaja. Suurem statement on ehk see, et mõni sisearhitekt tegeleb vaid avalike ruumide loomisega ning kodusesse privaatruumi ei söanda tungida. Kahjuks puuduvad ka seekordses raamatus eluruumide projektid, kuid loodetavasti viib tulevik meid soovitud suunas. Kuidas inimesed elavad ja „oma ruumi” kasutavad, on huvitav teema, kuid sisearhitektile teinekord raskemgi, sest elamises lihtsalt on nii palju isiklikku ning autori käekiri on kerge kaduma. Kui palju vajab üks ruum loomingulist lähenemist, oleneb muidugi eelkõige selle ruumi kasutajast, tellijast ning funktsioonist. Siin avaldub autori isikupära, see tajutav tunnetuslik „miski”, mida ei saa otseselt kirjeldada, õpetada ega seletada. Sestap paneb mind imestama fotograafide jätkuv huvi tühja ruumi vastu, mis ei mõju paraku „elusana”. Oma disainerielu elavad vormiloojad, kes loovad uusi mööbliesemeid, sõltumata kohaspetsiifikast. Potentsiaalsele kasutajale vajaliku disainlahenduse väljapakkumine ning selle tootmisse juurutamine on omaette maailm, mis eeldab innovatiivselt mõttelt head sihtgrupi ja ajastu tundmist ning orienteerumist materjalides ja tehnoloogiates. Projekteerimine omakorda on tehniline ala, mis on hinnatav kutsestandardiga, teadmisi, täpsust ja aeganõudev reaalne tegevus, mis seob liidu liikmed omanäoliseks professionaalseks kogukonnaks. ESLi aastaraamat kui kogumik on läbilõige ehk ajastu märk, nii tegijate kui tellijate-kasutajate vaatevinklist. Head süvenemist!

Tüüne-Kristin Vaikla, sisearhitekt, Ruumipilt 2012 koostaja ja toimetaja

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Ruumipilt 2012


A selection of projects of the Estonian Association of Interior Architects brought to fruition in 2012 is enclosed between the covers of this book, providing a good overview of professional projects, interior architects and customers. Museums and exhibitions are conspicuously vigorous, inspiring the self-realisation of interior architects. In addition to photographs of interiors, exterior views of buildings and photographs of details as well as sketches, plans and cross-sections by the authors create the visual appearance of this book. The authors get to have their say in person to describe their trains of thought in the creative and construction process. Colleagues who are architects, photographers, historians of architecture and interior architects critically and humorously comment on the end results through the eyes of jury members. It is hard to overestimate the role of the customer as the one who poses the task and thereafter brings it to its fruition. In the case of vigorous personalities, their style in designing very different spaces expresses the established identity of the interior architect. The requirements of success are good communication skills, sufficient time to attune to the work at hand, courage to hesitate and experiment, and if necessary to reinterpret. Safe choices to guarantee results hopefully cannot be an end in itself – the viewer will recognise that right away. Creation of spatial effect and interior architectural project design are the domain of the interior architect. These are seemingly similar concepts, yet they require versatile skills and personal qualities of the author, along with experience in construction and a strong artistic concept. Rooms can be located in historical buildings or structures for which the design is still on the architect’s work desk. Relating to one and the other seems to go without saying because in our little Estonia, there is no specialising in the design of one or another type of building, whether it be a hospital or a school. The strongest statement is perhaps the fact that some interior architects work only on creating public spaces and do not dare to enter the private space of homes. Unfortunately, projects for living spaces are not found in this book, either, but we are moving in the direction of developing that field of work. How people live and use their “own space” is an interesting theme, yet is sometimes even more difficult for the interior architect because there is simply so much that is personal in living spaces and the author’s style can easily be lost. Just how much of a creative approach a particular room needs depends, of course, primarily on the users of that room, its customer and function. The author’s identity is manifested here, that perceptible, cognitive “something” that cannot be directly described, taught and explained. Hence the continued interest of photographers in empty rooms that inevitably do not come across as being “alive” amazes me. The creators of forms who create new pieces of furniture and other objects regardless of specific place or location live their own design life. The proposal of design solutions needed by potential users and putting them into production is a world of its own that requires thorough familiarity with target groups and the current era, along with orientation in materials and technologies in order to bring innovative ideas to life. Project design, in turn, is a technical field that can be appraised using professional standards. It is a time-consuming real activity that requires knowledge and precision, which unites the members of the association into a distinctive professional community. The ESL yearbook as a collected work is a cross-section, or sign of the era from the point of view of those active in the field as well as of customers and users. Enjoy yourself as you delve into this world!

Tüüne-Kristin Vaikla, interior architect, compiler and editor of Ruumipilt 2012

Ruumipilt 2012

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Sisearhitektuuri mitu elu Triin Ojari, arhitektuurikriitik, ESLi aastapreemiate žürii liige

Kaasaja arhitektuurimaastikul räägitakse aina süveneva murega probleemidest nagu arhitekti kui intellektuaalse professionaali marginaliseerumine, riigi suhtumisest arhitektuuri kui pragmaatilisse, odavpakkumise printsiibil hangitavasse teenusesse, lõpuks ka arhitektuuri enda muutumisest meedia- ja materjalitööstuse poolt vormitud tooteks keskkonnas, kus kõik väärtushinnangud paneb paika „turu nähtamatu käsi”. Buumijärgsest pohmelusest ärganuna, avalikele hoonetele korraldatud suurte arhitektuurivõistluste tsükkel üle elatud, odavehituse koledust arhitektide süüks panevast kriitikast nõretavad ajalehed välja väänatud, on aeg ruumilisel maastikul kriitilise pilguga ringi vaadata. Küsida, kas ja kuidas on arhitektuurse ruumi loomise mehhanismid (sh rahastus, meedia, kinnisvaraäri trendid) uut ehitatud keskkonda muutnud. Ühiskonna tasandil on regulatsioone ja tsentraliseeritud otsustuskorda juurde tulnud, samas on käibesse paisatud niisugused nähtused nagu rahvakogu või vabakondlik liikumine ning sellega lisandumas osapooli näiteks planeerimisprotsessi. Avalikul ehitusel on alati poliitline mõõde, tänaseks valminud suuremad avalikud hooned – haridusasutused, muuseumid, spordivõi keskkonnarajatised – on otsustava rahasüsti saanud enamasti Euroopa Regionaalarengu Fondist, mis muu hulgas tõstab kilbile väärtusi, nagu piirkondlik kompetents (st tihti konkurentsi „kõige vingema” vallamaja või spordihoone nimel), piirkondlik Euroopaga lõimumine, keskkonnahoid, sobivus turismiobjektina jne. Projektiühiskond on aina enam maad võtmas. Arhitektuuri tasandil räägitakse üha enam taaskasutusest, väikesest mõõtkavast, sotsiaalselt hoolivast keskkonnast, olemasolevaga sobitumisest ja säästmisest. Kui küsida äsjase Eestit kihama löönud valitsuskriitilise kõne kombel, et „Mis on sellel pildil valesti?”, siis muutunud ongi retoorika, rõhuasetus individuaalse silmatorkamise asemel ühtlasele keskkondlikule ilmele, uuele normaalsusele. Kuhu sobitub sellele pildile sisearhitektuur ja disain? Suures plaanis enamasti arhitektuuriga ühte sammu astudes on sisearhitektuur alati kiirem muutuja, aju-

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tisem ja personaalsem. Ta võib eksisteerida arhitektuurist lahus, asutades end anonüümsesse ruumi ning seades oma eesmärgiks vastavalt vajadusele kas elamusliku atmosfääri, kodususe, šiki glamuuri, kalli või odava, rasvase või lahja. Palju harvemini on sisearhitektuur tõepoolest mõne uusehitise integraalne osa, toetades välise lahenduse ideestikku, ega varja selle konstruktiivseid või ruumilisi lahendusi (eeskujulikud näited selles plaanis olid nii Balti Filmi- ja Meediakool kui ka Narva Kolledž). Me ootame, et kui me tänavalt kuhugi sisse astume, siis satuksime teise maailma, kus valitsevad meie jaoks arusaadavad märgid ja sõnumid – mööblivalik, värvid, valitud detailid, valgustus; kõik oleks nii visuaalselt kui aistinguliselt loetav ja tähenduslik. Üks kujunduslikke trende on tänava/siseruumi maailmade erinevust rõhutada, tekitada absoluutselt erinev elamus, mängida atraktiivsusel ja inimeste kalduvusel armastada lugusid. Teine, populaarne eriti söögikohtade-kohvikute maailmas, on vastupidine trend – erinevust mahendada, kasutada kuhjaga vanakraami, vintage-mööblit, tapeete ja valgusteid, luua kujutlus kohast, mis siin aastakümneid on tegutsenud (milline mõeldamatu stsenaarium meie katkestuste kultuuris!). Kuhugi pole kadunud ka äripindadele sobituv cool, tehnitsistlikult sile new minimal või teatraalne, absurdivõtmes nihkeid pakkuv baroklik interjöör. Üks tänase tarbimisühiskonna kreedosid kõlab, et identiteedi määrab tarbimisotsus, sh ka see, millistes kohtades me söömas või muusikat kuulamas käime, rääkimata sellest, milliseks me kodu kujundame – sellest on saanud tõeline meedialemmik ja kõiki seltskondi ühendav rahvakunst, kus professionaalsed sisearhitektid tunduvad järjest rohkem oma positsioone kaotavat. Teemaks on isetegemine, taaskasutuse lahendused, säästlikkus, kujundatud iha asjade järele ning individualiseerumine. Massimeedia, kus räägitakse omaenda majja investeerimise eelistest, omandiga kaasnevast vabadusest, lähtumisest isiklikest soovidest ja ihadest, peegeldab tegelikult sõltuvussuhet – kodu omamine ja selle

Ruumipilt 2012


pideva parendamise ning kujundamise nimel tarbimine on üks tänase pangalaenudele ja kinnisvaraärile keskenduva eluasemepoliitika väljendus. Arhitektuurne originaalsus, ruumikujundus ja disain on tänase elamusmajanduse olulised osad – need on erialad, mis tegelevad identiteedi ja kommunikatsiooniga, nende sõnumiks olev unikaalsus ning eristumine sobituvad praegusesse personaalsust ning üksiolemist kultiveerivasse ühiskonda. Nn elamuskujundusest on vähemalt muuseumide, teemakeskuste (uus hübriid seegi) ja erinevate meelelahutusasutuste puhul saamas kohustuslik lähenemisstrateegia, võti külastajatevoo ning positiivse kuvandi manu. Möödunud aastal valminud Tartu Ülikooli Ajaloo Muuseumi varakamber, Tallinna Teletorn või Meremuuseum Lennusadamas on vaid mõned näited uut tüüpi muuseumiruumi tulekust, kus sisearhitektuuril on senisest tähtsam ja samas hübriidsem roll. Sest need on keskkonnad, mis valmivad suure ja mitmekesise meeskonna koostöös, kust lisaks arhitektidele ei puudu kuraatorid, IT-asjatundjad, programmeerijad, lavastus- või nukukunstnikud, mehhaanikainsenerid, graafilised kujundajad ja tootedisainerid, masinaehitajad ja lõpuks kõikvõimalikud meistrimehed. Ühest küljest on hea sisearhitektuur alati loonud valitud loole tausta, meeleolu ja raami ning on (välis)arhitektuurist tunduvalt enam personaalsele elamusele suunatud. Teisalt elame me nn disainmõtlemise ajastul, kus disaini mõiste ekspansiivne retoorika on enda alla haaranud kõik alates süsteemide ja teenuste disainist kuni toodeteni, kus räägitakse loovate tööriistade kasutamise vajadusest kõigis eluvaldkondades ja kus loovmajandus ning „talendid” nõuavad ka sobivat ruumilist, elamuslikku ja mitmekesist keskkonda. Sisearhitektuuri hübridiseerumine tähendab kujunduse integreerimist uude loodavasse disaintervikusse, selle terviku loomine on meeskonnatöö ning kujundus ise hakkab aina enam koosnema korporatiivset sõnumit kandvatest elementidest, mida võib vajadusel välja vahetada või ümber kujundada.

likkus võivad olla paiguti samavõrd tähtsad kui mõnes klubis või söögikohas. Avalik ruum Arhitektuurikonkursi teel sündinud avalikke ühiskondlikke hooneid, koolimaju või spordihalle on jagunud viimasel kümnendil igasse arhitektuuri(preemia)aastasse. Vaieldamatult on see oluline riikliku arhitektuuripoliitika elluviimine, kvaliteetse arhitektuuri väärtustamine, regionaalpoliitika ja muu üllas retoorika, mis riiklike objektide lindilõikamisega kaasas käib. Hoolimata konkurssidega kaasnevast kriitikast, korralduslikest probleemidest ja viimastel aastatel aina enam ka riigi soovimatusest näha avalikes konkurssides alternatiivi vähempakkumispõhimõttel rakendatavatele riigihangetele, on arhitektuurselt eksperimentaalse ja uuendusliku arhitektuuri tellimine üks avaliku sektori ülesannetest. Narva Kolledž, samuti Balti Filmi- ja Meediakool (BFM) Tallinnas tänavusest n-ö saagist on selle tõestuseks parimal moel. Asukohta, otstarvet, ruumilisi ja kujunduslikke võimalusi suurepäraselt tõlgendavana ja ärakasutavana tähistavad nad tegelikult seda, et haridushoonete standard on taas tõusnud, kvaliteetne sisekujunduslik ja arhitektuurne tervik on elementaarne uus normaalsus. Kolledži detailideni läbimõeldud sisekujunduses ja disainis, aga ka BFMi särtsakais ja ülimalt asjalikes interjöö-

Kui küsida äsjase Eestit kihama löönud valitsuskriitilise kõne kombel, et „Mis on sellel pildil valesti?”, siis muutunud ongi retoorika, rõhuasetus individuaalse silmatorkamise asemel ühtlasele keskkondlikule ilmele, uuele normaalsusele.

Kui tulla tagasi muuseumide kui teemakeskkondade kujundamise juurde, siis tegu on lülidega kaasaja kultuuritööstuse ahelas, osaga tarbimisihade loomises; nende koostamis- ja kujundusprintsiip peab astuma sama sammu nii kaasaegsete vaba aja ja kaubandusruumide disainiga, kus tänane inimene oma põhilise aja veedab kui ka pakkuma külastajale tasemel virtuaalmaailma, kaasavaid IT-lahendusi, mängu. Pole juhus, et näitusekujundused on muutumas ikka silmatorkavamaks ja saanud muuseumidele või galeriidele prestiižiküsimuseks. Ka käesoleva aasta preemiakandidaatidena oli neid üles seatud erakordselt palju. Laskumata siinkohal veel muuseumide turundus- või koolitusspetsiifikasse, võib öelda, et hiiliv kultuuri ja äri toimimisloogika lähendamine, mis pea kõigi uuemal ajal avatud muuseumide puhul silma torkab, tähendab ühtlasi nihet disainerlikuma mõtlemise suunas muuseumist kui laiema süsteemi osast, kui tarbitavast keskkonnast, kus mulje ja elamus-

Ruumipilt 2012

rides pole midagi üle mõistuse tehtut, ülekujundatut, toimivad lihtsad lahendused, kust ometi igast otsustusest aimub professionaalset kätt. Sa märkad väikseid detaile või disainelemente, millele kujundaja võis olla mõelnud, ja sa tead, et ka mittemärkamine ja sujuv ülelibisemine, ilma et midagi sind häiriks, on märk disainerlikust kvaliteedist. Üsna lihtne on selliste hoonete najal rääkida väärtustavast arhitektuursest ruumist kui uuest normist avalikus halduses, ometi on tegelik pilt koolihoonete või muude riiklike objektide puhul kaugel arhitektuurse kultuuri väärtustamisest – tegelike ehituslike valikuteni viiv otsustusprotsess on liiga lünklik ja juhuslik. Arhitektuuri ja sisearhitektuuri suhtutakse kui anonüümsesse tootesse, mida saab kui parandus- või puhastusteenust pragmaatilise teenusena sisse osta. Odavuse ja tõhususe printsiibil muidugi. Seega – vaatamata kõigele on uute ühiskondlike interjööride arv ja tase muljetavaldav, kuid vaatamata kõigele ei veena see meid veel kaugeltki selles, et avaliku ruumi olulisusest arusaamisega meil kuigi hästi oleks.

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The Many Lives of Interior Architecture Triin Ojari, architecture critic, member of the ESL annual awards jury

Problems such as the marginalisation of the architect as an intellectual professional, the attitude of the government towards architecture as a pragmatic service to be procured through the principle of underbidding, and finally also the transformation of architecture itself into a product formed by the media and the materials industry in an environment where the “market’s unseen hand” determines all value judgements are discussed in today’s architectural landscape with an ever increasing degree of concern. Now that the post-construction boom is over, the cycle of major architectural competitions for public buildings has been survived, and newspapers dripping with criticism blaming architects for the monstrosity of cheaply constructed buildings have been wrung out, it is time to critically look around the spatial landscape. To ask whether and how the mechanisms for creating architectural space (including financing, the media, trends in the real estate business) have changed the new constructed environment. Regulations and a centralised decision-making procedure have been added at the level of society, while at the same time phenomena like people’s assemblies or the mutual and non-profit sector movement have been thrust into circulation. This is adding parties to the planning process, for example. Public building always has a political dimension. The larger public buildings that have been completed by now – educational institutions, museums, sports venues or environmental structures – have received a decisive infusion of financing mostly from the European Regional Development Fund, which among other things promotes values like regional competence (which often means competition in the name of the “most terrific” community centre or athletics building), regional integration with Europe, environmental conservation, suitability as a tourist attraction, and so on. Project oriented society is gaining ever more ground. Recycling, small scale, socially caring environments, fitting in with the existing surroundings, and conservation are spoken of ever more frequently at the architectural level. If we were to ask, “What is wrong with this picture?”, as in the recent speech criticising the government that has set Estonia buzzing, then it is rhetoric that has changed, an emphasis on a uniform environmental appearance, a new normality instead of standing out individually. In terms of this picture, where does interior architecture and design fit in? While interior architecture

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mostly proceeds in step with architecture in the big picture, it always changes more rapidly, is more temporary and personal. It can exist apart from architecture, establishing itself in an anonymous room and setting either the living atmosphere, homeliness, chic glamour, expensive or frugal, opulent or ascetic as its objective according to particular needs. Interior architecture is much more rarely truly an integral part of some new building, supporting the body of ideas of the external design without hiding its constructive or spatial solutions (excellent examples of this aspect were both the Baltic Film and Media College, and Narva College). When we walk in to some building off the street, we expect to enter a different world where signs and messages predominate that are understandable to us – choice of furniture, colours, selected details, lighting; everything should be both visually and sensorially comprehensible and significant. One design trend is to stress the difference between the worlds of the street and of the interior space, to create an absolutely differing experience, to rely on attractiveness and people’s tendency to love stories. Another opposite trend is popular in the world of dining establishments and cafés – to soften the difference, to use lots of old furnishings, vintage furniture, wallpapers and lamps, to create an image of a place that has functioned here for decades (what an inconceivable scenario in our culture of disruptions!). The cool, technically smooth new minimal interior suitable for business spaces, or the theatrical baroque interior that offers displacements in an absurd vein both remain in vogue. One of the credos of contemporary consumer society states that consumption decisions determine identity, including what kinds of places we attend to dine or listen to music, to say nothing of how we design our home – this has become a true media favourite and a form of folk art that unites all segments of society, where professional interior architects seem to be progressively losing their positions. The topic is do-it-yourself, recycling solutions, conservation, designed desire for things, and individualisation. Mass media, where the advantages of investing in one’s own house, the freedom that comes with owning property, and the point of view based on personal wishes and desires actually reflect a relationship of dependence – owning a home and consumption in the name of its continual improvement and design is one expression of contemporary

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housing policy oriented to mortgages and the real estate business. Architectural originality and spatial design are important parts of contemporary experience economy – these are professions that deal with identity and communication. The uniqueness and differentiation that is their message fit in with contemporary society that cultivates personality and being on one’s own.

of culture and business, which is conspicuous in the case of almost all museums opened in recent times, also means a shift in the direction of thinking more in terms of design of the museum as part of a broader system, as an environment subject to consumption, where impressions and the experiences offered can at times be just as important as in some sort of club or dining establishment.

So-called experience design is becoming a compulsory strategy of approach, at least in the case of museums, theme centres (even this is a new hybrid) and different entertainment establishments, a key to the flow of visitors and a positive image. The University of Tartu Museum of History Treasure Chamber completed last year, Tallinn’s television tower, or the Seaplane Harbour Maritime Museum are only a few examples of the advent of a new type of museum space, where interior architecture has a more important and at the same time a more hybrid role, because these are environments that are completed through the cooperation of large and diverse teams, which in addition to architects also include curators, information technology specialists, programmers, stage directors or puppet makers, mechanical engineers, graphic designers and product designers, machine constructors, and finally all manner of artisans. On the one hand, good interior architecture has always created a background, mood and framework for the selected story and is aimed at a considerably more personal experience than (exterior) architecture. On the other hand, we live in an age of so called design thinking, where the expansive rhetoric of the concept of design has gathered everything under its guise from the design of systems and services to products where the need to use creative tools in all spheres of life is spoken of, and where the creative industry and “talents” also require a suitable spatial and diverse environment rich in experiences. The hybridisation of interior architecture means the integration of design into a new design whole that is to be created. The creation of this whole requires teamwork and the design itself will start to consist ever more of elements bearing a corporative message that can be replaced or reformulated as necessary. Returning to the design of museums as thematic environments, they are links in the chain of contemporary cultural industry, part of the creation of consumer desires. The principle according to which they are drawn up and designed must be in step with the design of contemporary spaces for both recreation as well as commerce and trade, where people nowadays spend most of their time, and also offer visitors a quality virtual world, attractive information technology solutions, and play. It is no coincidence that exhibition designs are becoming ever more striking and have become a matter of prestige for museums or galleries. An extraordinarily large number of them were nominated as award candidates this year as well. Without getting into the specifics of the marketing of museums or their training programmes, it can be said that the furtive drawing together of the functional logic

Public Space

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Public buildings, school buildings or sports facilities created through architectural competitions can be found for every architectural (award) year over the last decade. This is undoubtedly the implementation of important national architectural policy, the appreciation of quality architecture, regional policy and other noble rhetoric that accompanies the ribbon cutting ceremonies of national objects. Regardless of the criticism that goes with competitions, organisational problems and also, ever more in recent years, the government’s disinclination to see public competitions as an alternative to public procurements that apply the principle of underbidding, the commissioning of architecturally experimental and innovative architecture is one of the tasks of the public sector. Narva College and the Baltic Film and Media School (BFM) in Tallinn from the current harvest, so to speak, are the best proof of this. They superbly interpret and use the location, purpose, spatial and design possibilities, and as such they actually indicate that the standard of educational buildings has risen again. A quality whole of interior design and architecture is elementary new normality. Nothing has been done beyond reason or over-designed in the College’s interior decoration and design, which is well thought out in detail, and in the BFM’s snappy and exceptionally practical interiors. Simple solutions work, and nevertheless, a professional approach can be discerned behind each decision. You notice small details or design elements that the designer may have thought of, and you also know that not noticing and smoothly sliding over other elements without finding anything disturbing is also a sign of designer quality. It is rather simple to speak of appreciative architectural space as a new standard in public administration on the basis of these kinds of buildings. Nevertheless, the actual picture in terms of school buildings or other national objects is far from appreciating architectural culture – the decision-making process that leads to actual choices related to construction is too sporadic and random. Architecture and interior architecture are seen as anonymous products that can be bought as a pragmatic service, like repair or cleaning services. According to the principle of cheapness or effectiveness, of course. Thus – regardless of everything, the number and level of quality of new public interiors is impressive. Yet regardless of everything, it does not by far convince us that things are in good shape by any stretch of the imagination in terms of understanding the importance of public space.

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avalik ruum public space


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Tartu Ülikooli Narva Kolledž

TLÜ Balti Filmi- ja Meediakool

Lennusadam

Tartu Ülikooli varakamber

University of Tartu Narva College

University of Tallinn Baltic Film and

Seaplane Harbour

The Treasury of the University of Tartu

Media School

48 Tallinna Teletorn Tallinn’s Television Tower

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ööklubi BonBon

Eesti Energia esindused

büroo Turvatehnika

BonBon nightclub

Eesti Energia branches

Turvatehnika office

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büroo Pirita teel

büroo Ignite

Kaubamaja Lastemaailm

Kaubamaja Naistemaailm

Office on Pirita Road

Ignite office

Tallinn Kaubamaja Children’s World

Tallinn Kaubamaja Ladies’ World


Hannes Praks on Saaremaal sündinud sisearhitekt ja pereisa. Ta on õppinud EKAs sisearhitektuuri, täiendanud end ärijuhtimise, tarkvaraarenduse ja keelte (saksa, hiina) alal. Hannes Praks on kujundanud üle 150 füüsilise ruumi, laiemat tuntust on ta kogunud Rahva Raamatu kauplustega. On Eesti Mesinike Liidu liige. Hannes Praks is an interior architect and father born in Saaremaa. He has studied interior architecture at the Estonian Academy of Arts, and has supplemented his education in the fields of business administration, software development and languages (German, Chinese). Hannes Praks has designed over 150 physical rooms. His designs for the Rahva Raamat bookstore chain have earned him widespread recognition. He is a member of the Estonian Association of Beekeepers. www.hannespraks.ee

ESL aastapreemia

2012

Tartu Ülikooli Narva kolledž

University of Tartu Narva College

aadress/address: autorid/authors:

arhitektid/architects: tellija/client: ehitaja/builder: fotod/photos: portree/portrait:

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Raekoja plats 2, Narva Hannes Praks, Kadri Tamme, Kristjan Holm, Liisi Murula, Toomas Pääsuke, Ahti Grünberg, Daniel Marius Reisser, Helen Sarapuu (HPS) Kavakava Tartu Ülikool YIT Ehitus Anu Vahtra, Kaido Haagen Reio Avaste

tartu ülikooli narva kolledž

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Euroopa piirilinna modernne koolimaja kõnetab barokse Narva austajaid, loodetavasti ka haritavat noort õpetajaskonda, kellele see on loodud, ühendamaks erinevaid maailmu, eilset ja homset. Kuidas sellele majale läheneda, kui palju Narva sind mõjutas? Hannes Praks (HP): See maja on sinna kutsutud muutusi esile tooma, nii ei pruugigi ta nõukogudeaegse Narvaga sobida. Ongi hästi terav kontrast, mis on ammutanud oma ainest mineviku kadunud linnast, baroksest Narvast. See on värav kõigile, kes rändavad läänest itta. Põhimõjud tulid ikka sellest vanalinnast, tänase Narvaga ma ei suhestunud. Võib-olla see ongi miinus, liigne distantseerumine. Nii arhitektuuri kui ka sisearhitektuuri puhul tekkis mul hruštšovkade ja praeguse Narvaga ülivõimas vastuolu. Kui majafassaad oli värvitud, siis see jahmatas nagu Mustamäele pargitud Lamborghini. Selline küsimärgiline moment. Mis hoonega on tegu ja kuidas läks koostöö arhitektiga? HP: Arhitektil oli võimas idee fassaadiga – teha barokse maja jäljend, see inspireeris mind otsima vastet sisearhitektuuris. Leidsin, et lubikrohv, paekarjäärist murtud paeplaat ja tammeparkett on sellised materjalid, mis ühes kobedas Narva elamus võinuksid omal ajal olla. Ka toonased moevärvid on siin kasutusel: roosa, roheline, lilla, sinine. Valisin muidugi lubikrohvi pakkujate kõige teravamad värvid välja ja proovisin olla kontrastne. Paar värvi on natuke pikantsed, minu lemmikauditoorium on kolmandal korrusel (roheline), kust aknast paistabki hruštšovka ja seal köögiakna taga olev korvikene, kus on pett ja liha. See on nii hull kontrast – tammepuidust raamistik nagu inglise loft. Kokkupõrge on peaaegu tuntav. Koostöö arhitektidega hakkas meil sujuma pärast põhiprojekti, nii ka nende sõnul. Ehitamine oli tohutult pikk protsess, vahetus nii ehitaja kui minu tiim. Asi läks paika, kui ma aru sain, et ma ei kasuta siin tavalist värvi, vaid lubikrohvi, mis sai dominantseks materjaliks ja kõik muu hakkas selle ümber keerlema. Dominandi leidmine oli nii keeruline, maja ise on keeruline. Projekteerimine käis otsekui pimedas, käsikaudu kobades, peoga sinist sinna, roosat tänna. Jumal juhtis ka, juhuslikkuse momenti oli seal juures. Saan aru, et finantsi teil oli ja see, et osa mööblit tuli kaasa endisest nõukaaegsest koolimajast, oli puhas kontseptuaalne statement? HP: Jah, see on üliõrn viide minevikku, mitte valikuvõimaluse puudumine. Kas oled koolimaju varem ka teinud? Kas tellija seadis mingeid piire? HP: Ei ole. Kord ütles tellija, et see on koolimaja, mitte ööklubi, vihjates sellele, et ma olen mõned ööklubid ju teinud. Aga see ei ole antud kontekstis oluline, tegelikult nad usaldasid arhitekte ja sisearhitekti täielikult, seisid projekti eest ja tahtsid, et see maja lõpuks valmis saaks – Katri Raik on seda protsessi vitaalselt seitse aastat juhtinud.

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Ruumis on palju detaili. HP: Kelladega sai jälle barokset motiivi sisse toodud, Karise portree ei läinud läbi, nii suured egod on mängus. Ja muna motiiv on mängus, olen seda ikka ja jälle kasutanud. See käib töödest läbi ja nagu nali, mis algul on naljakas, siis ei ole enam naljakas ja lõpuks on jälle naljakas – ma proovin munaga sedasama teha. Kool on nagu haudejaam, munas on tohutu potentsiaal olemas, nüüd sõltub edasine haudetingimustest – kes või mis sealt koorub.

„Raputatult ja mitte segatult“ – piirilinna baarmen heitis mõistmatu pilgu kliendile, kes ülejäänutest selgelt eristus. Mida see tüüp siit otsib ja mis seosetut joga ajab, mõtiskles ta koltunud rätikuga õlleklaasi põhjast kevadise kärbse kuivanud laipa urgitsedes. Kuid kliendi sügavsinistest silmadest levis järeleandmatu ja vastuvaidlematu nõudlikkus. Baarmen mõistis, et mingu või aastaid, aga soovitud seguta tüüp siit ei lahku. Kuiva martiini ja viinaga probleemi pole, aga kust kohast see neetud oliiv võtta… Kuid klient ütles, et neil on siin linnas vedanud, sest aega ja kannatust jätkub, olgu aga oliiv olla. Neetud, alati kui nurgatagusesse marketisse kedagi vaja saata, siis kadunud see... Aga on nagu on, valmis ta lõpuks on. Ja mitte segatult, vaid raputatult. Kui välimuselt on toetutud moodsa kunsti klassikutele, siis sees rokitakse, kuigi mitte täiega – ja see on just hea. Iga nurgatagune, iga ruum, iga detail on omamoodi ja üllatab. Üllatabki, sest väljendite rohkusest olenemata ei hakka need häirima. Lahendused on kohakesksed, mingit narratiivi kandvad ja ei tundu formaalsed. Raivo Puusepp, arhitekt ja ESLi aastapreemiate žürii liige  

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This modern academic building in one of Europe’s frontier cities speaks to admirers of baroque Narva, and hopefully also to the young student body that studies there, for which it was created to join together different worlds, those of yesterday and of tomorrow. How should this building be approached? How much did Narva affect you? Hannes Praks (HP): This building has been called into being there to accentuate changes. Thus it may not necessarily fit in with Soviet-era Narva. It is a very sharp contrast that has derived its substance from a city that has disappeared into the past, baroque Narva. It is a gate for all who travel from the West to the East. The main influences came from that Old Town that had previously existed. I did not relate to contemporary Narva. Perhaps that is a negative aspect, excessive distancing. Both in terms of architecture and interior architecture, I felt a very powerful conflict with present day Narva and its Khrushchev-era apartment buildings. When the building’s façade was painted, it was startling, like a Lamborghini parked in Mustamäe. It was a kind of questionable moment. What kind of building is this and how did cooperation proceed with the architect? HP: The architect had a momentous idea concerning the façade – to make a replica of a baroque building. That inspired me to seek its counterpart in interior architecture. I found that lime plaster, limestone slabs chipped out of a limestone quarry, and oak parquet are the kinds of materials that could have been in a respectable Narva dwelling back in those days. The fashionable colours of that time were also used here: pink, green, purple, blue. Naturally, I chose the sharpest colours that lime plaster suppliers had to offer and tried to be contrastive. A couple of colours are a bit zestful. My favourite auditorium is on the third storey (green), where a Khrushchev era apartment is visible through the window, and a little basket can be seen through the kitchen window of that apartment containing buttermilk and meat. That is such a crazy contrast – an oak wood framework like an English loft. The collision is almost palpable. Our work with the architects started running smoothly after the main design project and they say the same thing. Its construction was an immensely long process. The builder was replaced and the staff of my own team changed as well. The project settled into place when I realised that I wouldn’t be using ordinary paint here, but rather lime plaster instead, which became the dominant material, and everything else started revolving around that. Finding the dominant feature was so complicated. The building itself is complicated. Its project design proceeded as if in darkness, feeling our way, a dab of blue here, pink there. God showed the way, and there were also moments of randomness in the process.

school building was purely a conceptual statement? HP: Yes, that is an extremely subtle reference to the past, not a lack of alternatives. Have you designed school buildings before? Did the customer set any restrictions? HP: No, I haven’t. Once the customer said that this is a school building, not a nightclub, alluding to the fact that I have designed a few nightclubs. But that is not important in this context. They actually trusted the architects and interior architect completely. They stood for the project and wanted the building to finally be completed. Katri Raik managed this process energetically for seven years. There are many details in the space. HP: The baroque motif was introduced again with the clocks. The portrait of Karis was rejected, such large egos were involved. And the egg motif is included. I’ve used it again and again. It runs through my work like a joke that is funny at first, then isn’t funny anymore, and finally is funny again – I try to do the same with the egg. School is like a hatchery. The egg contains immense potential. Now what comes next depends on the hatching conditions – who or what hatches from it.

I understand that you had finances and the fact that some of the furniture came from a former Soviet-era

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Tartu Ülikooli Narva Kolledž oli tõsine arhitektuurielamus, Praksi meeskonna sisekujundus oma elavuses ja ebatäiuslikkuses ootamatult inimlik ja värske. Mari Kurismaa, sisearhitekt ja ESLi aastapreemiate žürii liige

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1m

5m

1. korruse plaan 3. korruse plaan Ground floor plan 2nd floor plan

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tartu 체likooli narva kolled탑

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The University of Tartu Narva College is a serious architectural experience. The interior design by Praks’s team is surprisingly humane and fresh in its vividness and imperfection. Mari Kurismaa, interior architect and member of the ESL annual awards jury

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university of tartu narva college

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“Shaken, not stirred” – the frontier city barman cast an uncomprehending glance at the customer who differed clearly from the rest. What is that character doing here and what incoherent twaddle is he going on about, he pondered while picking the dried corpse of a spring fly from the bottom of a beer glass with a faded towel. Yet the customer’s deep blue eyes betrayed an adamant and unconditional particularity. The barman realised that even if it takes years, that character won’t leave without the cocktail he desires. There’s no problem with the dry martini and the vodka, but where to get that damned olive…Yet the customer said that they’ve been lucky in this city because there is plenty of time and patience, but that olive has to be had. Damn it, every time somebody has to be sent to an out of the way market, then that is lost… Be that as it may, it is finally complete. And not stirred, but shaken. While the classics of modern art have been relied on externally, the building rocks on the inside, but not completely – and that is good. Every nook and cranny, every room, every detail surprises and is after its own fashion. They do indeed surprise because regardless of the abundance of means employed, they do not create a disturbing effect. The solutions are location specific, they carry a kind of narrative and they do not appear formal. Raivo Puusepp, architect and member of the ESL annual awards jury

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Sisearhitektuuribüroo VLS alustas buumi ajal ning on praeguseks tegutsenud projektide kallal avalikest hoonetest väiksemate eraobjektideni, vahele mõni tore kunstiprojekt. Olulisemate tööde hulka võib arvata käesoleva, ning varasemast ajast näiteks Paide Spordihalli. VLSi sisearhitektid on olnud kaasautoriteks ka Eesti Rahva Muuseumi ning KUMU kunstimuuseumi sisustuse loomisel. The VLS Interior Architecture Bureau started out during the construction boom and by now has worked on projects ranging from public buildings to smaller private objects, with a few nice artistic projects sprinkled in between. This project can be considered among their more important jobs, along with the Paide Sports Arena from among previous projects, for instance. VLS interior architects have been co-authors in creating the interior furnishings for the Estonian National Museum and the KUMU Art Museum as well. www.vls.ee

tlü Balti filmija meediakool

University of Tallinn Baltic Film and Media School

aadress/address: autorid/authors: arhitektid/architects: mööbel/furniture: tellija/client: ehitaja/builder: akustika/acoustics: fotod/photos:

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BFM

Narva mnt 27, Tallinn Kadi Karmann, Ville Lausmäe (VLS) Salto AB Ville Lausmäe, Tõnis Kalve Tallinna Ülikool Skanska EMV Akukon Martin Siplane, VLS

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Must elegantne hoone peidab end kvartali embuses, see on üks kolmest uuest Tallinna Ülikooli õppehoonest. BFMi arhitektuurikonkurss jäi masu aega ja nagu ikka kaasnes sellega palju elevust, mis päädis õnnestumisega. Välis- ja siseruumi trepistikust on saanud loominguliste tudengite kohtumispaik. Kuidas sellele majale läheneda? Ville Lausmäe (VL): Eks ta hoovimaja on, ametlikku sissepääsu ausalt öeldes ma ei teagi. Mina olen absoluutselt igast erinevast august sisse roninud. Mis hoonega on tegu ja kuidas sai alguse koostöö arhitektiga? VL: Saltoga algas meie koostöö Paide Spordihallist, mis oli nii emotsionaalselt kui finantsiliselt äärmiselt keeruline objekt ja neid keerulisi objekte oleme omavahel ka jaganud. Meie liitusime seekord vahetult peale konkurssi ja võlu on see, et saad osaleda null-staadiumist – nii planeeringutes kui ka konstruktiivsetes otsustes – tiimi osana. Ideaalis nad muidugi näeksid, et see, kes teeb, töötab nende juures laua taga. Kas oled koolimaju varem teinud ka? VL: Koolimaju ei ole, aga ma ei suhtunud sellesse kui koolimajja, tegu on ikkagi ülikooli ehk pigem toreda kohaga, kus olla. Ega neid klassiruume siin väga palju ei olegi – kaks auditooriumi ja paar pisikest seminariruumi. Mõte on selles, et see maja on tegelikult ju tootmishoone, siin toodetakse filme ja selle kõrval käib ka õppetöö. Siin on kaks suurt filmipaviljoni, helistuudiod, montaažiruum – nagu EKAs on maaliklass. Siin on väga vähe klassikalist istumisruumi. Kui palju projekt muutus peale konkurssi? VL: Arhitektuurselt muutusid fassaadid. Aga sisuliselt see kontseptsioon, mille paika panime, see on paigas. Kuidas arenes välja kujunduskontseptsioon ja mis on teid inspireerinud? VL: Märksõnaks on AUS MAJA ja seetõttu on ta kee-

rulisemaid objekte, mida ma üldse tean. Hakkasin pihta tootmishoone loogikast: see maja on tehnoloogiat paksult täis, kui seinad ära võtta, siis näeb see välja nagu Ida-Virumaal õlirafineerimisjaam, koosneb torudest ja konstruktsioonidest ja tehnikast, veelkord tehnikast. Sellel on samuti oma esteetika, siit tuligi kuskilt aususe teema: selle asemel, et tekitada lisana mingit ilu või ruumimõju – haarasime kõik siin majas nii või naa vajalikud elemendid ja kasutasime neid kujunduse loomisel. Loomulikult on helistuudios 100-kihiline sein, selleks et seal heli sees püsiks, kuid mingeid butafoorseid asju ei ole. Fuajees, mis on maja visiitkaart, on haaratud kujundusse teraskonstruktsioon, mis on hoopis teistsugune kui insenerimõte ette nägi. Ventilatsioon, jahutus, mis iganes, teenib eesmärki, et tekiks mingi miljöö. Kas käisite ka mujal maailmas midagi vaatamas? VL: Käisime TAIKis korra, see on juba nii sisse elatud, vaatasime funktsionaalset poolt. Mul on Linnateatri aegadest kogemus, kui käisime teatriga Euroopa läbi omal ajal, mis oli väga hariv. Avalikkusele nähtav on 1/3 teatrist, kõik muu on tootmine. See maja siin ei ole väga erinev teatritest. Töömaht kujunes suuremaks, kui oskasid ette näha. VL: Ma ei osanud uneski kujutleda, et minu teha jääb stuudioseinte kihiti joonistamine, et see kõik töötaks. Nojah, aga täiesti võrratu tiim oli, kes selle maja püsti pani, siin ei ole kompromisse üldse. Elus esimest korda tundsin, et mul on uhke viibida sellises seltskonnas. Nutikas projektijuht, Tallinna Ülikooli esindaja, tegi juhina hästi õigeid otsuseid: palkas õige järelevalve, normaalse ehitaja, kes ei tulnud selleks kokku, et teha kompromisse. Nüüd elab maja oma elu ja ma ei tea rohkem ühtki objekti, mis oleks nii terviklikult valminud. Kas kahju ei ole lahkuda objektilt, nagu oma laps juba? VL: Ei ole. Avamisel on see šokk, et paljutki lõhutakse juba ära jne, aga tegelikult on äge, et ruumid saavad oma funktsiooni ja nad on elus – endalgi on huvitav näha, kuidas kulumise märgid tekivad.

Sisearhitektuur on efektne, askeetlik ja kompaktne. Seal on näha, et raha ei ole raisatud, tehtud kokkuhoiurežiimil, aga see on ausalt ehitatud, ei ole midagi peale kleebitud. Sisearhitektuurne osa on hästi loogiline ja kõik see ruumiloogika on kohe loetav. Väljast mõjub maja umbes viis korda suuremana, kui ta seest tegelikult on. Ehe, aus ja napp võrreldes teiste Tallinna Ülikooli hoonetega. Üliõpilased küll kiruvad seda maapõhja, nemad ei mahu sinna lihtsalt ära. Aga tunne on seal õudselt hea! Krista Aren, disainer ja TLÜ dotsent

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To what degree did the project change after the competition? VL: Architecturally speaking, the façades changed. But in terms of content, the concept we settled on remains in place.

This elegant black building conceals itself in the embrace of the city block. It is one of three new University of Tallinn academic buildings. The BFM architectural competition was held during the economic downturn and as always, it was accompanied by a great deal of exhilaration, which culminated in success. The staircase for its exterior and interior space has become a meeting place for creative students. How should this building be approached? Ville Lausmäe (VL): I guess it’s a courtyard building. To be honest, I don’t know that it has an official entrance. I’ve climbed in through absolutely every different opening. What kind of building is this and how did the work with the architect begin? VL: We started working with Salto on the Paide Sports Arena, which was an extremely complicated object both emotionally and financially. We have also shared those complicated objects among ourselves. This time we joined immediately after the competition and the attraction was the fact that we could participate from ground zero up – in the planning process and in the construction decisions – as part of the team. They, of course, would ideally prefer that whoever takes care of this part of the project works at the table in their bureau. Have you worked on school buildings before? VL: We haven’t worked on school buildings, but I didn’t relate to this building as a school building. This is, after all, a university, in other words more of a terrific place to be. There aren’t all that many classrooms here – two auditoriums and a couple of tiny seminar rooms. The idea is that this building is actually a production building. Films are produced here and teaching takes place alongside that. There are two large film pavilions here, sound studios, an editing room – like the painting classroom at the Estonian Academy of Arts. There is very little classical space for sitting here.

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How did the design concept develop and what inspired you? VL: The key phrase is AUS MAJA (Honest building) and for this reason, it is one of the most complicated objects that I know of at all. I began with the logic of a production building: this building is chock full of technology. If you remove the walls, then it would look like an oil refinery plant in Eastern Viru County. It consists of pipes and structures and technical equipment, and more technical equipment. It also has its own aesthetics, and this is where the theme of honesty came from somewhere: instead of creating some sort of additional beauty of spatial effect – we included all the elements in this building that were necessary one way or another and used them in creating our design. Naturally the sound studio has a 100-layer wall to keep the sound in it, but nothing superfluous has been added. The steel structure of the foyer, which is the building’s calling card, is utilised in the design, and it is altogether different from what the engineering idea prescribed. Ventilation, cooling, whatever serves the purpose of creating some sort of atmosphere. Did you go elsewhere in the world to see any examples? VL: We went to TAIK once. That’s already so familiar, we looked at its functional aspect. I have the experience from my time at Tallinn’s Town Theatre when we travelled throughout Europe with the theatre, which was very educational. One third of a theatre is visible to the public, the rest is production. This building here is not much different from theatre buildings. The amount of work turned out to be larger than you could foresee. VL: I would never have imagined even in my dreams that drawing the studio walls layer by layer would be my job, that it all would work. The team that erected this building was beyond comparison. No compromises were made whatsoever. For the first time in my life, I felt proud to be in the company of that team. The clever project manager, the representative of the University of Tallinn, made very good decisions as manager: he hired the right construction supervisor, and a builder with a good attitude. The team did not come together to make compromises. Now the building is living its own life and I don’t know of a single other object that has been completed as such a complete whole. Aren’t you sad to leave the object? It’s kind of like your own baby already. VL: No, I’m not. It’s a shock at the opening that lots is already being wrecked, and so on, but actually, it’s awesome that the rooms get their function and that they’re alive – it’s interesting to see how the marks of wear and tear emerge.

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1. korruse plaan 5. korruse plaan Ground floor plan 4th floor plan 1m

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The interior architecture is impressive, ascetic and compact. You can see that money has not been wasted and it has been built frugally but honestly. Nothing superfluous has been pasted on it. The interior architectural part is very logical and all that spatial logic is immediately readable. Externally, the building appears to be about five times larger than it actually is on the inside. Genuine, honest and understated compared to other University of Tallinn buildings. University students totally revile it because it simply can’t accommodate them all. But the feeling there is awfully good! Krista Aren, designer and University of Tallinn docent

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KOKO Arhitektid on rahvusvahelist tunnustust kogunud ajalooliste hoonete rekonstrueerimisega: Fahle maja (Design Museum Londoni poolt parima arhitektuurse kontseptsiooni nominent 2007) ja Rotermanni Laudsepatöökoda (Mies van der Rohe preemia nominent 2009). Julge lähenemine ja innovaatilised lahendused keskenduvad olemasolevale ruumile ja selle olemusest tulenevale mõjule. KOKO Architects have gained international recognition through the reconstruction of historical buildings: the Fahle Building (nominated by Design Museum London for Best Architectural Concept in 2007) and the Rotermann Carpentry Workshop (nominated for the Mies van der Rohe Award in 2009). Their bold approach and innovative solutions focus on the existing room and the effect that derives from its nature. www.koko.ee

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Seaplane HARBOUR

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Vesilennuki 6, Tallinn Andrus Kõresaar, Olga Batuhtina, Raivo Kotov, Margit Argus, Margit Aule, Indrek Mikk (KOKO Arhitektid) Eesti Meremuuseum Karl Õiger Nordecon

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Kaido Haagen, KOKO Arhitektid

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Tallinna vesilennukite angaarid ehitati 1916–1917 Peeter I aegse merekindluse osana, mille näol on tegemist ainulaadse raudbetoonkoorikehitisega kogu maailmas. Angaarid projekteeris Taani inseneribüroo Christiani & Nielsen, mille järglaskond on muu hulgas projekteerinud kuulsaid raudbetoonkoorik-konstruktsioone nagu Sydney ooperimaja. Mille poolest on see töö olnud teistmoodi võrreldes varasema kogemusega? Andrus Kõresaar (AK): Teistmoodi on ta eelkõige oma insenertehnilise unikaalsuse ja seejärel graafika ning muude pehmete väärtuste poolest. Meie jaoks algas see aastal 2009, kui oli konkurss, aga tegelikult olime seoses detailplaneeringuga kursis juba varem. Projekteerimise mõttes oli eripära see, et kõik protsessid toimusid paralleelselt: vana maja rekonstrueerimisest, ekspositsioonini välja. Ilmselt oli põnev koostöö inseneriga. AK: Karl Õiger lõi printsiibid, kuidas seda teha. Ehitustöö käigus tuli jälgida, et neist printsiipidest kinni peetaks. Ehitajal oli kümneid, kui mitte sadu ettepanekuid, kuidas retseptist mööda minna. Tõdesid võib olla ka mitu, aga Õigeri idee oli, et läbi tuleb viia kogu retseptuur keemilistest ühenditest, mida on varem proovitud ja mille puhul on teada, et see töötab vähemalt 30-50 aastat, kui rääkida betooni kooriku taastamisest. Ainete koosmõju ongi väga tähtis. Kuidas arenes välja näituse üldkontseptsioon ja mis on teid inspireerinud? AK: Oli tähtis välja pakkuda üldkontsept ehk kihitine jaotus: kuskil on merepiir, millest allpool on merepõhi ja üleval õhk. Kui see oli paigas, siis muuseum leidis ise paadid ja väärtuslikud esemed. Muuseumi kartus oli, et kui me ei loo lugusid, siis rahvas siia ei tule – me peame looma ka need kihid, mis hakkavad avanema alles 2. korruse plaan 1st floor plan

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teisel-kolmandal käigul ja mida muuseum võtab kasutusele alles kolmandal-neljandal aastal. Oht oli ka see, et muuseum jääb isade-poegade teemaks ja emad-tütred jäävad kõrvale. Kuidas lõpptulemusega rahule jäid, kas mingid asjad võtsid teise pöörde? Kohati tundus, et ta saab isegi liiga valmis, miks ei jäänud lagi lihtsalt betooniks? AK: Igasugused asjad võtsid teise pöörde. Algselt oli plaan see, et angaarid on lihtsalt külmad ja kasutatavad ainult suvel. Protsessi käigus otsustasime teisiti – kasutame merekütet. Kuid üldises pildis jäime algse kontseptsiooni juurde. Laebetooni taastati ruutmeeterhaaval, pärast ei olnud see vaadeldav. Kuna maja on ka väljastpoolt soojustatud, originaal igalt poolt peidus, siis lähtusime varasemast väljanägemisest: värvisime lae halliks, siis mustaks, ja tuletõrjeauto oli kõrval ning pesi värske värvi jugadena maha, jättes erinevaid vahesid, et tekitada ebaühtlast rütmi. Laes ongi Eesti kõige suurem akvarell! Kas tõmbad paralleele millegagi, mida veel vaatamas käisite? AK: Käisime läbi kõik Põhjamaade meremuuseumid ja anglosaksi muuseumid ka. Külastajatega suhtlemisel võtsime šnitti Inglise muuseumidest, vähem Saksamaalt. Kotka muuseum on tagasihoidlik. Meil ei saanud niiviisi käituda, siin sa lood osa rahvuslikust identiteedist ja ühtlasi meelelahutuslikku (muuseumi)keskkonda. Kas akustikale tuli erilahendus? AK: Otsustasime, et me ei muuda akustikat. Linda Madalik käis ka paugutamas ja arutasime, kas peaks akustilist krohvi panema, järelkaja oli 7-8 sekundit. Ekspositsiooni helid võivad hakata üksteist häirima. Nii et kontsertide puhul mõjub seal hästi naturaalne heli, nagu saksofon, flööt, vokaal...

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Tallinn’s seaplane hangars were built in 1916–1917 as part of the fortified naval base dating back to the era of Peter I. The hangars are reinforced concrete shell structures that are unique in the world. The Danish engineering bureau Christiani & Nielsen designed the hangars, and their successors have among other things designed famous reinforced concrete shell structures like the Sydney Opera House.

square metre by square metre. After restoration, it was not observable. Since the building is also externally insulated and the original is hidden everywhere, we used its previous appearance as a basis: we painted the ceiling grey, then black, and a fire engine stood by and washed the fresh paint off with streams of water, leaving different spacing to create an irregular rhythm. The ceiling is Estonia’s largest watercolour!

In what sense was this work different compared to your previous experience? Andrus Kõresaar (AK): It is different primarily due to its engineering-technical uniqueness and thereafter its graphics and other soft values. It started for us in 2009 when a competition was held but we were actually familiar with the project earlier already in connection with the detailed master plan. In terms of the design process, it was different in that all the processes took place simultaneously: the reconstruction of the old building right through to the exposition.

Do you draw parallels with something that you have gone to see? AK: We visited all the maritime museums in the Nordic countries and the Anglo-Saxon museums as well. In talking with the visitors, we took our cue from British maritime museums, less from Germany. The museum in Kotka is unpretentious. We couldn’t use that approach. Here you’re creating part of the national identity and at the same time, an entertaining (museum) environment.

Working with the engineer was probably exciting. AK: Karl Õiger laid out the principles for how to do this. It was important to ensure that these principles be followed in the course of construction work. The builder had dozens if not hundreds of proposals for how to get around this recipe. There may be many truths, but Õiger’s idea was that the entire body of recipes of chemical compounds has to be carried out that has been tested previously and which is known to function for at least 30-50 years in terms of restoring concrete shells. The total cumulative effect of substances is very important.

Was a special solution worked out for the acoustics? AK: We decided not to change the acoustics. Linda Madalik conducted sound tests here and we discussed whether to apply acoustic plaster. The echo was 7-8 seconds. The sounds of the exposition could start interfering with each other. So when concerts are held there, very natural sounds like saxophone, flute, vocals take effect…

How did the general concept of the exhibition develop and what inspired you? AK: It was important to offer a general concept, in other words a distribution in layers: sea level is somewhere, below that is the sea bottom, and above it is air. When that was in place, the museum itself found the boats and valuable objects. The museum was afraid that if we don’t create stories, then people won’t come here – we have to create those layers as well, which will start to be revealed only on the second or third visit and which the museum will not put to use until its third or fourth year. Another danger was that the museum might remain a theme for fathers and sons, and that mothers and daughters will be left out.

Were you satisfied with the final result? Did some things turn out differently? At times it seemed that it was becoming too complete. Why wasn’t the ceiling simply left as concrete? AK: All sorts of things turned out differently. The initial plan was that the hangars would simply be unheated and used only during the summer. In the course of the process, we decided differently – we’ll use sea heating. Yet in terms of the overall picture, we stuck with the original concept. The ceiling concrete was restored

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Ühendatud kuplist koosnev ruum on võimas, pole kahtlustki, mahutades arvutul hulgal rohkem või vähem veidraid meresõidukeid ja militaartehnikat. Elamus on juba see, et vaataja saab liikuda nende vahel n-ö õhus, piki looklevat, kõrgele tõstetud käiguteed, või minestada lae alla tõusval erakordselt järsul kaarsillal. Põrand sillerdab mereliselt, lagi on musta värvi pritsinud tuletõrjevoolikute töö tulemusena töödeldud veelgi „ajaloolisemaks” ning „autentsemaks” kui eales enne, helitaustana täidab ruumi ülelendavate lennukite hootine müra. Taas õues valguse käes silmi kissitades tajud, et osava nipiga olid seal sees ka ise lavastuse osa olnud. Triin Ojari, arhitektuurikriitik ja ESLi aastapreemiate žürii liige

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In the case of the Seaplane Harbour, masterful architecture is not sufficiently well displayed in normal situations. The exposition reduces exceptional architecture to an ordinary black box. The size and grandeur of the room has not been accentuated, it is dark. But the exposition is very attractive. The clips were interesting and it was fun to go through the submarine. Mart Kalm, historian of architecture

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This room consisting of connected arches is awesome, no doubt about it, housing countless more or less peculiar seagoing vessels and military technology. The fact that the visitor can move among them in the air, so to speak, along meandering catwalks raised high up, is already an experience, or fainting on an exceptionally steep arch bridge that rises up below the ceiling. The floor glitters like the sea. The ceiling has been processed to be even more “historical” and “authentic” than ever before as a result of the black paint sprayed by fire-fighting hoses. The intermittent noise of airplanes flying overhead fills the room as sound background. Back outside, squinting in the sun, you perceive that you were also part of the production through a skilful trick. Triin Ojari, architecture critic and member of the ESL annual awards jury

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KAOS Arhitektide asutajad on arhitekt Margit Aule ja sisearhitekt Margit Argus. Neid huvitab avalik ruum nii hoonete sees kui ümber. Näituste ja muuseumide töögruppides on hiljuti valminud olulised objektid nagu Lennusadama Meremuuseum ja Tallinna Teletorni rekonstruktsioon. The founders of KAOS Architects are the architect Margit Aule and the interior architect Margit Argus. They are interested in public space both within and around buildings. Key objects like the Seaplane Harbour Maritime Museum and the reconstruction of Tallinn’s television tower have recently been completed in the working groups of exhibitions and museums. www.kaosarhitektid.ee

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The treasury of the university of tartu

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Lossi 25/Tartu Margit Argus, Margit Aule (KAOS Arhitektid) Tartu Ülikool Terje Lõbu, Mariann Raisma, Tiina Vint Polaar Studio New Garage Time Vennad Ehitus John Berger Eesti Jamaika Transit Reio Avaste, Andris Feldmanis, Ove Maidla, Tartu Ülikooli Muuseumite arhiiv

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Varakambris avaldas muljet kerge konstruktsiooniga üllatavalt väärika ja muinasjutulise ruumimulje tekitamine. Kerge muidugi mitte teostatavuselt, vaid kaalult. Kullakarva värvitoon põrandal ja volditud pilv lae all sobib ruumi nimetusega, samuti on vihjed sakraalsusele täiesti loetavad, eriti vaadates lage ja aknaid. Valguse peegeldumine põrandalt, samas neeldumine seintelt teeb väikese ruumi visuaalselt natuke suuremaks ja loob mulje nagu kõnniksid tõelises kullakoopas! Reio Avaste, arhitekt ja fotograaf

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Tartu toomkirik kui Vana-Liivimaa silmapaistvaim tellisgootika näide seisis 16. sajandi lõpust varemeis. Kuidas kasutada gooti katedraali tänasel päeval ning millist ruumipotentsiaali omaaegne sakraalne ruum endas peidab, on seal saanud aegade jooksul kogeda nii ülikooli raamatukoguna, ajaloomuuseumina kui ka vastse varakambrina tegutsedes. Mis on selle ruumi tekkelugu ja kuidas see alguse sai? Margit Aule (MA): Tartu Ülikooli ajaloo muuseumis asub Tartu Ülikooli varakamber, kus saab tutvuda valikuga ülikooli väärtuslikematest varadest. Sealt leiab seni harva eksponeeritud või lausa esmakordselt välja toodud haruldusi, mis kõnelevad ülikooli ideest ja vaimust. Milline oli lähteülesanne? Margit Argus (MA): Ülesanne oli luua Tartu Ülikooli varakamber, mis oleks niisama väärikas kui ka kaasaegne nagu ülikool ise. Oluline lähtepunkt oli ka see, et pea iga ese tuleb eksponeerida eraldi vitriinkapis. Mis on selle omanäolise ruumilahenduse inspireerinud, kuivõrd on sakraalne ehitis seda mõjutanud? MA: Ekspositsioon asub keskaegse kiriku varemetes,

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mis on 20. sajandi esimeses pooles vahelagede lisamisega osaliselt siseruumiks muudetud. Nii on teravkaared ruumis keskaegsed, kuid lagi ja põrand kaasaegsed. Selliselt tekkinud madalat ruumi muutsime aga ripplae lisamisega julgelt veelgi madalamaks. Kujundusega on püütud luua aardekambri meeleolu, ruumid on muudetud kuldse ripplae ja vitriinide abil salapärasteks, hubasteks ja leide täis kambriteks. Museaalid on laest rippuvates vitriinkappides, millest tekib ruumis kerge hõljumise tunne. Kuldsele laele sekundeerivad mustad seinad ja hämar, salapärane valguslahendus. Põrandat kaunistab temaatiline graafika: Tartu Ülikooliga seotud teadlaste tsitaadid ajastuomastes šriftides. Kuidas on inimesed selle maja/ruumi vastu võtnud? MA: Vanematele „kundedele“ on kindlasti üllatav, et nii väike kogus eksponaate on välja pandud. Kuid tagasiside on valdavalt positiivne: tegemist on omanäolise ideelahendusega Eestis. Olime seekord ise ka teostajad ja oleme tulemusega rahul. Kultuurkapitali sisearhitektuuri aastapreemia räägib seda keelt, et ka teiste arvates on asi õnnestunud.

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See kujundus lähtub niisugusest vanaaegsest varakambri kulla ja karra ja kullassepatöö ja kõige sellega seostuvast arusaamast, aga neil on seal mingisugust nõukogudeaegset „nodi” ka. Ja kui sul on veel see meeletu kulda võimendav lagi ja mingi nõukogudeaegne triviaalia, siis selle puhul on ta lihtsalt kohatu. Mart Kalm, arhitektuuriloolane

Tartu’s Cathedral is the most outstanding example of backstein Gothic architecture in Old Livonia and has stood in ruins since the end of the 16th century. Its operation through the years as the university’s library, a history museum and now as the university’s new treasure chamber has provided experience in what it is like to use a Gothic cathedral nowadays and what kind of spatial potential the former sacral space conceals within itself. How did this space come about and where did it start? Margit Aule (MA): The University of Tartu Treasury is located in the University of Tartu Museum of History. A selection of the university’s most valuable treasures can be seen there. Rarities that tell of the idea and spirit of the university and are rarely displayed or are even exhibited for the very first time can be found there. What was your original task? Margit Argus (MA): Our task was to create a treasury for the University of Tartu that would be as decorous as it is contemporary, like the university itself. The fact that practically each article has to be exhibited in a separate display case was also an important point of departure. What inspired this distinctive spatial solution; to what extent has the sacral building affected it? MA: The exposition is located in the ruins of a medieval church that has partially been converted into interior space in the first half of the 20th century through the addition of inserted ceilings. Thus the pointed arches in the room are medieval but the ceiling and floor are contemporary. We boldly made the low ceiling in this room that had thus been brought about even lower with the addition of a suspended ceiling. We tried to create the mood of a treasure chamber through the design. The rooms have been turned into mysterious, cosy chambers filled with discoveries using the golden suspended ceiling and the display cases. The museum articles are in displayed cases that hang from the ceiling. This creates a light feeling of floating in the room. Black walls and dim, mysterious lighting second the golden ceiling. Thematic graphics adorn the floor: quotes from scholars associated with the University of Tartu in type that is typical of the corresponding era. How have people received this building/room? MA: Older “customers” will no doubt be surprised to see that such a small quantity of exhibits have been displayed. Yet feedback is for the most part positive: this is a distinctive implementation of an idea in Estonia. This time we were also the ones to implement the idea and we are satisfied with the result. The Estonian Cultural Endowment annual award for interior architecture is another indication that this undertaking is a success in the opinion of others as well.

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the treasury of the university of tartu

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Hea näide, kus on hästi efektne sisekujundus tehtud, nii et neid eksponaate polegi sinna enam vaja. Seda sorti kujundus, kus on selgelt loetav struktuuriloogika, iseküsimus, kui huvitavad need eksponaadid on ja kui palju viitsida neid vaadata ja kas sa leiad näituse ülesehitusest mingit kontseptsiooni. Mulle täitsa meeldis, aga sellist asja ei saa palju teha. Leele Välja, arhitektuuriloolane

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The creation of a surprisingly decorous and fairytale-like spatial impression using light structures in the treasury left a lasting impression. Of course, this means light in terms of weight, not ease in terms of practicability. The golden-coloured tone of the floor and the folded cloud at the ceiling fit in with the name of the room, while at the same time, references to sacredness can be clearly distinguished, especially when looking at the ceiling and windows. The reflection of light from the floor and at the same time, its absorption by the walls makes the small room slightly larger visually and creates the impression that you really are walking in a cave of gold! Reio Avaste, architect and photographer

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This is a good example of where a very impressive interior design has been implemented so that those exhibits are not even needed there anymore. The kind of design where the logic of the structure is clearly discernible. How interesting those exhibits are and how much one can be bothered to view them and whether you can find some kind of concept in how the exhibition is set up is another question entirely. I really liked it, but you can’t do this kind of thing very often. Leele Välja, historian of architecture

This design is based on a kind of antiquated notion of the gold and tinsel and goldsmith’s work of a treasury and everything associated with it but they also have some sort of Soviet era odds and ends there as well. And then when you have this ceiling that inordinately amplifies the gold and some sort of trivial items from the Soviet era, then in this case it is simply inappropriate. Mart Kalm, historian of architecture

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the treasury of the university of tartu

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KOKO Arhitektid on rahvusvahelist tunnustust kogunud ajalooliste hoonete rekonstrueerimisega: Fahle maja (Design Museum Londoni poolt parima arhitektuurse kontseptsiooni nominent 2007) ja Rotermanni Laudsepatöökoda (Mies van der Rohe nimelise preemia nominent 2009). Julge lähenemine ja innovaatilised lahendused keskenduvad olemasolevale ruumile ja selle olemusest tulenevale mõjule. KOKO Architects have gained international recognition through the reconstruction of historical buildings: the Fahle Building (nominated by Design Museum London for Best Architectural Concept in 2007) and the Rotermann Carpentry Workshop (nominated for the Mies van der Rohe Award in 2009). Their bold approach and innovative solutions focus on the existing room and the effect that derives from its nature. www.koko.ee

Tallinna Teletorn

Tallinn’s Television Tower

aadress/address: ekspositsiooni autorid/ authors od the exposition: sisearhitektid/interior design: kuraatorid/curators: tellija/client: ehitaja/builder: fotod/photos:

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tallinna teletorn

Kloostrimetsa tee 58A, Tallinn Andrus Kõresaar, Liis Lindvere, Raili Paling (KOKO Arhitektid) Liis Lindvere, Raili Paling, Margit Argus (KOKO Arhitektid) Kristel Oitma, Mihkel Karu, Ott Sarapuu, Silja Mägi Levira, Tallinna Teletorn YIT Ehitus, YIT Emico Kaido Haagen, Tallinna Teletorn

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tallinn’s television tower

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Teletorn on inimeste mälus omandanud Eesti taasiseseisvumise viimase kaitserajatise tähenduse. Värviliselt plinkiv torn annab täna märku uue ajastu saabumisest. Ilmselt on see püsiv kutsung suunatud merele, ja ehk kõigile, kel huvi tõusta argielu toimetustest korraks kõrgele üles. Tegemist on tänapäevases mõistes samuti ajaloolise hoonega. Milliseid piiranguid see seab, või pigem inspireerib? Kas teletorn on ka ehitusmälestis? Andres Kõresaar (AK): Ei ole, aga ta on DoCoMoMo nimekirjas, nii et konkursitööd esitati omal ajal eksperthinnangute saamiseks DoCoMoMole. Mis olid teie prioriteedid ja väärtused, mida säilitada ja mida muuta? AK: Väärtuslik on tornikehand ise ehk betoonrajatis (1975–1980). Arhitektuurse ilme annavad torni tipus kasutatavad korrused ja selle all olevad diagonaalribid, tähendab David Bassiladze arhitektuurne keel. Interjööris on tervikuna säilitamist väärt Dolores Hoffmanni vitraaž (1979). Vitraaži asukohta muutsime ukse tsentraalse asukoha muutuse tõttu, mille üle autor just õnnelik ei olnud. Muudetud on kogu sissepääsuala, tingituna sellest, et sealsed basseinid, mis suvel küll kasutuses, seisid terve talve tühjalt. Teine asi oli, et tunnelist lähenemine varjas vaate tornile. Sissepääsuväravas oli kontrollhoone, nii et bussist maha astudes läksid kontrollhoonesse ja sellest hetkest torni väljast enam ei näinudki – selle kontsepti muutmine oli üks peamisi asju, millega me tegelesime. Siin on arhitektuurne ja ka museaalne aspekt. Mida teletornis eksponeeritakse? AK: Arhitektuurne muutus on sissepääsu pandus, mis viib kohe teisele korrusele. Ja talvist turvalist tunnelit

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saab suvel kasutada väljapääsuks. Teine arhitektuurne muutus on esimene korrus, kus võtsime kasutusele rohkem ruume, kui seal varem oli, ning muidugi mõlemad tornikorrused. Nüüd on 21. korrus tervikuna ekspositsioonikorrus ja 22. korrus restoran ja väike siilakas on Elioni serverid. Üleval tornis võib olla kuni 100 inimest, mis tuleneb tuletõrje nõuetest. Teisel korrusel lifti oodates saab vaadata teletorni ajaloo ekspositsiooni – Tanel Toomi humoorikat 3D-filmi tornist. Ja üleval on Eestit tutvustav näitus – Louis Kahnist Arvo Pärdini, lisaks Skype. Näitusekujunduses läbiv motiiv on seenekujuline pööratav robot, mis on seotud torni ehitamisaegse kosmoseromantikaga, kosmoseihalusega. Natuke ka orgaanikaga – seen kui looduses kasvav organism, mis on omandanud ülisuuruse. Kas käisite ka tutvust tegemas analoogsete tornidega? AK: Jaa, käisime küll, Berliinis – torn tiirleb, tunni ajaga teeb tiiru peale. Siis ka Stuttgardis, Plymouthis. Need kõik paiknevad kesklinnas, sündmuste keskel, kõik on põnev ümberringi. Tallinna teletorn on linnast väljas. Omal ajal valiti viie asukoha vahel, millest kaks olid absurdsed: üks Naissaarel ja teine seal, kus ta praegu on – oru põhjas, niiskel pinnasel, kuhu raske vundamenti kinnitada. Tolleaegne otsus, et linnast välja, kaugele, tuli KGBlt, et see on kaitstav infrastruktuuri objekt. Kas torn kõigub ka? Kõike ei saagi elus planeerida, loodusjõud tulevad mängu. AK: Mitte eriti, tormiga kõigub kuni 30 cm. See on pigem enesetunde küsimus. Aga ehitustöö kõrguses nõudis põhjalikku läbimõtlemist, see tõi omaette dimensiooni sisse. Vana liftiga ei saanud raskusi vedada, tuli arvestada väljas kaabli otsas oleva konteineriga, mis omakorda sõltus tuulest ja vihmast.

Ruumipilt 2012


The television tower has acquired the meaning in people’s memory of the last fortification in the restoration of Estonia’s independence. The colourfully flashing tower nowadays indicates the arrival of a new age. This persistent call signal is apparently aimed at the sea and perhaps at everyone who is interested in rising high above the daily routine for a moment. This is also an historical building in today’s terms. What restrictions does this set, or does it inspire instead? Is the television tower also an architectural monument? Andres Kõresaar (AK): No, it isn’t, but it is on the DoCoMoMo list, so the competition entries were submitted at the time to DoCoMoMo for expert analysis. What were your priorities and values, what to preserve and what to change? AK: The carcass of the tower itself, in other words the concrete structure (1975–1980) is valuable. The architectural appearance is created by the usable storeys at the tip of the tower and the diagonal ribs under it, meaning David Bassiladze’s architectural language. The stained glass by Dolores Hoffmann (1979) is worth preserving in its entirety in the interior. We changed the location of the stained glass due to a shift in the location of the central position of the door. This did not exactly please the author. The entire entrance area has been altered due to the fact that the pools there, which were in use during the summer, stood empty all winter long. The other point was that approaching the tower through the tunnel concealed the view of the tower. There was a control building at the entrance gate so that when you got out of the bus, you went into the control building and from that moment on, you no longer saw the tower from the outside – changing this concept was one of the main things that we dealt with.

ganics – the mushroom as an organism that grows in nature that has grown extremely large. Did you go to familiarise yourself with analogous towers? AK: Yes, we went to Berlin – the tower spins. It makes one complete rotation in one hour. Then we also went to Stuttgart and Plymouth. All those towers are situated in the city centre, in the middle of events, everything all around is exciting. Tallinn’s television tower is outside of the city. Back in its day, the location was chosen from among five potential sites, of which two were absurd: one on Naissaare Island, and the other where the tower presently stands – at the bottom of a valley on damp soil where it is difficult to affix a foundation. The decision of that time to build it a long distance outside of the city came from the KGB, since it was an object of the infrastructure that had to be defendable. Does the tower sway as well? Everything cannot be planned in life, the forces of nature come into play. AK: Not particularly. Under storm conditions it does sway up to 30 cm. It is more a question of how you feel. But construction work at high altitudes required thoroughness in thinking it through. This brought another separate dimension to the project. Heavy objects could not be hauled up using the old elevator, so we had to rely on a container outside at the end of a cable, which in turn depended on wind and rain.

There is an architectural and a museum aspect to this. What is displayed in the television tower? AK: The architectural change is in what was put into the entrance, which leads directly to the second storey. And the safe, winter tunnel can be used in the summer as an exit. The other architectural change is the first storey, where we put more rooms to use than before, and of course, both tower storeys. Now the entire 21st storey is an exposition storey, and the 22nd storey is a restaurant, and Elion servers occupy a small sliver. There can be up to 100 people up in the tower according to fire safety regulations. You can view the exposition of the television tower’s history on the second storey while waiting for the elevator – the humorous 3D film about the tower by Tanel Toom. And up above is an exhibition introducing Estonia – from Louis Kahn to Arvo Pärt, with Skype as well. A rotatory robot shaped like a mushroom associated with the romance and longing for outer space in the time when the tower was built is the motif that runs through the design of the exhibition. It is also associated a little with or-

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Kui Alice Irvikkassiga kloostri taha metsa jõudis, oli teletorn juba valmis. Liftid ikka ei töötanud, ja selleks, et üles jõuda, tuli kasutada treppi. Ronida oli väga palju, aga kuna aega oli, siis kohale jõutigi alles kahekümne aasta pärast. Nüüd siit pilve piirilt piiritut avarust vaatama jäädes sündis nende peas siiras soov luua asju, mida enne pole nähtud ega kuuldud. „Siia saagu seenemets,” ütles Alice. Alustatigi siis seentest, enneolematutest. Vallatute, krigisedes liikuvate seente tõttu aga loobuti hoopis metsast ja selle kohinast, sest asju sai juba niigi palju. Kui veel sündisid hõljuvad lamp-pilved ja munajas administraatorilaud, oligi valmis. Tegelikult ongi teletorni uuestisünni võlu selles, et väheste vidinatega on täidetud ajavahemiku tühikud oskusliku veenvusega ajateljel liikumisest. Perspektiivselt ahenev sissepääs temaatilise supergraafilise seina taustal laheneb fuajee ufo-temaatiliste detailidega. Eks teletorn olegi nagu juhe Maa pealt kuhugi. Ülemistel vaatekorrustel on kosmilise lähenemise väljund realiseeritud juba eespool kirjeldatud motiividega. Kui veel ette kujutada läbi kaduva põranda vabalangemise kõditavat mõnu, siis lahkumine Teletornist on meeleolukas ja tagasitulekut soosiv.    Raivo Puusepp, arhitekt ja ESLi aastapreemiate žürii liige

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tallinna teletorn

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1. korruse plaan Ground floor plan

21. korruse plaan

22. korruse plaan

20th floor plan

21st floor plan

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When Alice arrived in the woods behind the abbey with Grinning Cat, the television tower was already built. The elevators didn’t work yet and you had to take the stairs to get to the top. It was a long climb but since they had the time, then they arrived at the top twenty years later. Now as they remained looking at the vast open expanse from here at the edge of the clouds, the sincere wish occurred in their heads to create things that have never before been seen or heard. Let there be a mushroom forest here, said Alice. Then they started with unprecedented mushrooms. Due to the mischievous mushrooms that crunched as they moved, they abandoned the idea of the forest and its rustling because there were already too many things. When floating lamp clouds and an egg-shaped administrator’s desk were born after that, everything was ready. Actually, the appeal of the rebirth of the television tower is that the gaps in the interval are skilfully filled with few gadgets from moving along the time axis with conviction. The entrance narrowing in perspective on the background of a thematic super-graphic wall is resolved with the UFO-theme details of the foyer. You could say the television tower is like a conduit from Earth to somewhere. The expression of the outer space approach is realised on the upper observation storeys using the motifs already described above. If we were to prescribe the ticklish pleasure of free falling through the disappearing floor, then leaving the Television Tower is spirited and favours returning. Raivo Puusepp, architect and member of the ESL annual awards jury

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Sisearhitektuuribüroo VLS alustas buumi ajal ning on praeguseks tegutsenud projektide kallal avalikest hoonetest väiksemate eraobjektideni, vahele mõni tore kunstiprojekt. Olulisemate tööde hulka võib arvata käesoleva, ning varasemast ajast näiteks Paide Spordihalli. VLSi sisearhitektid on olnud kaasautoriteks ka Eesti Rahva Muuseumi ning KUMU kunstimuuseumi sisustuse loomisel. The VLS Interior Architecture Bureau started out during the construction boom and by now has worked on projects ranging from public buildings to smaller private objects, with a few nice artistic projects sprinkled in between. This project can be considered among their more important jobs, along with the Paide Sports Arena from among previous projects, for instance. VLS interior architects have been co-authors in creating the interior furnishings for the Estonian National Museum and the KUMU Art Museum as well. www.vls.ee

ööklubi BonBon

BonBon nightclub

aadress/address: autorid/authors: tellija/client: ehitaja/builder: fotod/photos:

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ööklubi bonbon

Mere pst 6E, Tallinn Peeter Klaas, Ville Lausmäe (VLS) Klubimestarit Sfinks Ehitus VLS

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2. korruse plaan 1st floor plan

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ÜÜklubi bonbon

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5m

Ruumipilt 2012


BonBoni ööklubi on jõudnud klubide maailmakaardile kui kuum koht. Kuidas värskelt uuenenud klubi toimib ja mis sealt välja paistab? Miks klubi uuendamine ette võeti? Ville Lausmäe (VL): Klubi oli olemas, aga pidu oli läbi, siin ei käinud keegi. BonBoni algsed kunded eelistavad kodus magada, mitte ei tule klubisse. Inimestele, kes vana klubi mäletavad, siis – sissepääs oli hästi kitsas, siin oli ikka kaklus, kuna nii kitsas oli. Aga traditsiooniliselt kuulub sissepääsu juurde ikka punane vaip. Ühesõnaga otsiti uut klienti, taheti midagi täiesti teistsugust. Ruumiline liigendus ei ole kuidagi arhitektuuriga seotud, vaid pigem masside liikumise järgi paika loksutatud. Logistika on nagu amfiteatris, et igalt poolt näed, sest kolmveerand tüüpidest tahavad näha tantsijaid. Liigendatud põrand ja valguslagi toimivad koos. Palju on led-valgusega mängitud, mis annab tehnoloogia tunnetuse. Mis on teid inspireerinud? VL: Loeme hästi palju ulmekirjandust, vaatame palju filme, muusikavideosid. See on tunnetuslik protsess, tahaks sama tunde tekitada, mis nähtud lahedas muusikavideos. Efekt on see, kui kõik läheb ruumis siniseks, siis tekib ühtmoodi aura, kuid peagi see muutub näiteks punaseks või roheliseks... Palju on nüansside peale mõeldud. Elu pahupoole üle diskuteerimine jooksis pidevalt läbi. See oli aeg, kus käisime palju pidudel. Seinapiltidega (rasterprint) tegeles Peeter oma poolteist kuud. Server nägi pärast nagu pornosait välja. Tegelikult me vist ei tunne kedagi, kes tunneks kedagi, kes on ööklubis kokku saanud. VL: Inimesed ikka otsivad seiklusi. Elu on siin äärmiselt intensiivne, äri selles mõttes, et eneseupitamine.

The BonBon nightclub has made it to the world map of clubs as a hot spot. How does this freshly renovated club function and what meets the eye there? Why was the renovation of the club undertaken? Ville Lausmäe (VL): The club existed but the party was over. Nobody came here anymore. The original BonBon patrons prefer to sleep at home, not to come to the club. For people who remember the old club – the entrance was very cramped, fights even broke out because it was so cramped. But traditionally speaking, the entrance should have a red carpet. In short, the club was looking for a new kind of patron, they wanted something completely different. The spatial division is not in any way connected to the architecture, rather it fell into place according to the movements of the masses. The logistics are like in an amphitheatre so that you can see from everywhere, because three quarters of the customers want to see the dancers. The articulated floor and the lighted ceiling operate together. The design plays a great deal with LED lighting, which provides a sense of technology. What inspired you? VL: We read lots of science fiction, we watch lots of films, music videos. It’s a cognitive process. We’d like to create the same feeling as in a cool music video. The effect is that when everything in the room turns blue, a certain kind of aura is created, but then shortly it turns red, for example, or green… We thought a great deal about nuances. Discussion of the wrong side of life was a running theme. That was a time when we went to lots of parties. Peeter worked on the wall pictures (raster print) for a good six weeks. Afterwards the server looked like a porn site. Actually, we probably don’t know anybody who knows anybody who has gotten together at a nightclub. VL: People still look for adventures. Life is extremely intense here, business in the sense of ego trips.

Päevasel ajal kogetuna mõjub peohommikuna mis tahes ööklubi. Kuid nähtu lubab aimata, et õhtuks show-girl virgub. Silmad ja tuled löövad särama ning vilguvad vastu kõigilt neilt lugematutelt hoolikalt läikima lihvitud ja maitsekalt kokku seatud ööteatri kulissidelt. Meenutades ei suuda ette kujutada, kuidas kõik nähtu klubiruumidesse ära mahtus, aga mahtus ja mahtus hästi. Tarmo Piirmets, sisearhitekt ja ESLi aastapreemiate žürii liige

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Any kind of nightclub experienced during the daytime has the effect of the morning after a party. Yet even seeing it under those conditions gives one the idea that the showgirl will awaken by evening. The eyes and the lights will light up and flicker in reflection from all those countless, carefully polished and tastefully arranged night theatre scenes. Thinking back, you can’t imagine how everything you have seen fit into the club’s rooms but it all did fit, and very well. Tarmo Piirmets, interior architect and member of the ESL annual awards jury

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Ruumilabor on loovbüroo, mille asutajateks on sisearhitektid Janno Roos ja Andres Labi. Tänaseks on loodud bürookeskkondi, riigiasutuste esindusruume, hotelle, mitmeid kauplusi, kohvikuid ja restorane ning innovatiivseid näitusekujundusi. Ruumilabori kaasabil valmis Eesti paviljoni projekt EXPO maailmanäitusele Shanghais. Ruumilabor is a creative bureau, the founders of which are the interior architects Janno Roos and Andres Labi. By now they have created office environments, official rooms for governmental institutions, hotels, several shops, cafés and restaurants, and innovative exhibition designs. The Estonian pavilion project for the EXPO world exhibition in Shanghai was completed with the cooperation of Ruumilabor. www.ruumilabor.ee

Eesti Energia esindused

Eesti Energia branches

autorid/authors: tellija/client: teenusedisain/service design: visuaalne identiteet/ visual identity: fotod/photos:

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eesti energia esindused

Janno Roos, Andres Labi, Liisa Põime (Ruumilabor) Eesti Energia Urmas Pastarus Tank Reio Avaste, Ruumilabor

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Arvestades energiaturu vabanemist on mõistetav tellija soov viia muutunud sisu ka vormi. Uus, värskelt roheline, üldmuljes kerge ja õhuline. Samas – ilmselt on klienditeeninduse vorm reaalse ruumina kindlalt taandumas. Rahvas eelistab virtuaalset ruumi. Ma usun, et oleme siin tunnistajaks millelegi, mis mõne aasta perspektiivis on füüsilise ruumina kaduv. Nii nagu hiljuti kadus linnaruumist viimane taksofon. Kaido Kivi, sisearhitekt ja ESLi aastapreemiate žürii esimees

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eesti energia branches

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Põrandaplaan Floor plan

1m

Eesti Energia korraldas klienditeenindussaalide kujunduskonkursi juba aastal 2000, et tuua minevikuhõngulised äärelinna kontorid linna keskele ning kujundada endale uus nägu. Viimasel ajal on elekter kuum teema, see huvitab absoluutselt kõiki inimesi. Millega on Eesti Energia uute esinduste puhul täpsemalt tegu? Andres Labi (AL): See on uus klienditeeninduse kontor, mis tekkis seoses energiaturu avanemisega, mille hanke me võitsime. Töötasime välja korduvlahenduste printsiibi ja koostasime stiiliraamatu ehk manuaali, mille esimeseks katsetuseks oli Tähesaju kontor. Tänaseks on uuendatud esindusi veel, näiteks Tartus, Paides, Jõhvis, mis on uue manuaali järgi tehtud. Ruumidega on nagu on, mõni on liiga suur, teine liiga väike, neid ei saa valida, tuleb kohaneda. Energia teema on fookuses, kui paljud siia kohapeale jõuavad? AL: Oodati inimesi, kes hakkaksid lepinguid uuendama, seega vajati kohta, et olla hästi nähtav, et tulge nüüd siia. See läkski ilusasti käima. Nüüdseks on tunglemine muidugi möödas. Janno Roos (JR): Ökonoomsem oleks olnud avada energiaturu avanemise hetkeks ajutised kontorid. Kuidas arenes teie kujunduskontseptsioon? AL: Lähteülesanne oli leida lahendus, mis oleks odav ja

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ei sõltuks sellest ruumist, kuhu see kontor tuleb. Üritasime võimalikult vähe ruumi muuta – olgugi et värvime ära seinad, põrandat me ei muuda, kui see vähegi kannatab, lage ei muuda. Planeeringus kergseinu küll ehitame, eraldame kontoripoole teenindussaalist. Eesmärk oli muuta lahendus paindlikuks ja ette näha, kuidas tundmatusse ruumi kogu vajalik mööbel sisse tuua. Kas midagi on läinud teisiti kui algne mõte? AL: Üritasime kogu seda asja võimalikult rohkem iseteeninduseks viia ja vähendada klassikaliste teeninduslettide osakaalu. Oli üleminekuaeg, Eesti Energial tekkis ka konkurents ja riski vältimiseks jäeti siiski suurem osa teeninduslette alles, et mitte liiga uuenduslikult läheneda – kasutajad on vanemad inimesed. Roheline värv, värskus ja paindlik planeering, kus iseteenindus on hästi nähtav, et klient sinna läheks, ja alles siis, kui ta ei saa hakkama, läheb ta teenindaja juurde. Üritasime ka moodsad olla, näiteks teenindajal on kaasaskantav lauaarvuti. JR: Formaat on sarnane pangakontoriga: energia on nagu kapital, sa tuled teenust saama. Keskmine klient, kes siia tuleb, on väga hinnatundlik. Niisiis me pidime saavutama selle, et tulemus oleks kerge, samas lihtne ja arusaadav ning peegeldaks edasipüüdlikkust ja innovatiivsust. Erinevalt pangakontoritest ei tohiks mõjuda kallilt. Puit on tavaline oksavaba mänd näiteks. Selline asjalik, mis kõnetab inimest. Eesti Energial ei ole liiga hea maine, kõik kiruvad teda, tasakaalustamiseks saab kontoritega hoida sõbralikumat joont. Testkontor.

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Eesti Energia held a design competition for its customer service outlets in 2000 already in order to bring its suburban offices with their air of the past into the city centre and to design a new appearance for itself. Electricity has recently been a hot topic. It interests absolutely everybody. What exactly do the new Eesti Energia branches entail? Andres Labi (AL): This is a new customer service office that was born in connection with the opening up of the electrical energy market. We won the procurement bid for it. We worked out a principle for repeating solutions and we drew up a stylebook or manual. The Tähesaju office is the first test of this manual. By now, other customer service branches have been renovated according to this new manual as well, for instance in Tartu, Paide and Jõhvi. The rooms are what they are, some are too large, others are too small. You can’t choose them, you simply have to adjust. The theme of energy is in focus. How many people make their way here? AL: People were expected to come and start renewing their contracts. Thus a highly visible office was needed that would be inviting to people. It started up very well. The rush is over by now, of course. Janno Roos (JR): It would have been more economical to open temporary offices for the moment when the electrical energy market opens up. How did your design concept develop? AL: The original task was to find a solution that would be cheap and would not depend on the room where the office was to be installed. We tried to change the room as little as possible – even though we paint the walls, we don’t change the floors if at all possible, and we don’t change the ceiling. We build walls in the planning design, and we separate the office side from the service space. The objective was to make the solution as flexible as possible and to foresee how to bring all the necessary furniture into an unfamiliar room. Has anything gone differently than the original idea? AL: We tried to give self-service as big a role here as possible, generally speaking, and to reduce the relative proportion of classical service counters. It was a transitional period. Eesti Energia encountered competition, and in order to avoid risk, the greater portion of service counters was nevertheless retained so as not to approach the renovation too innovatively – the customers are older people. The colour green, freshness and flexible planning, where self-service is prominently visible so that the customer would go there and he goes to a customer service representative only if he can’t manage. We tried to be modern as well. For instance, customer service representatives have portable laptops. JR: The format is similar to a bank branch: energy is like capital, you go there to obtain service. The average customer that comes here is very price-sensitive. Thus

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we had to achieve a result that would be easy and at the same time simple and understandable, and would reflect ambitiousness and innovativeness. Unlike bank branches, it shouldn’t leave an impression of expensiveness. The wood is ordinary pine without knotholes, for instance. It’s businesslike and speaks to people. Eesti Energia doesn’t have a very good reputation, everyone curses it. Offices can maintain a friendlier stance to balance things out. A test office.

Ma ei saa aru sellest taastuvenergia jutust, see ei ole lihtsalt termodünaamika ehk loodusseadustele vastav. Energia ei teki ega kao, vaid muutub ühest olekust teise. Päike kustub kord termotuumareaktsiooni tõttu kääbuseks, aga seegi toimub millegi arvelt, hoolimata tossu ja tuha puudumisest lõplikul põlemisel. Just see millegi arvelt, täpsemalt arvete-meeldivaks-tasumise-jutt ongi sünnitanud rohelise energia müüdist inspireeritud Eesti Energia uute teeninduskeskuste imagoloogia materialiseerunud tulemi. On tõesti raske vaielda nendega, kes eelistavad rohelist sinisele, vineeri-puitu plastmassile. Võib-olla tõesti näevad paljud elektrist rääkides kohe rohelist värvi ja puitu. Kuigi elekter on otseselt ju midagi nähtamatut, pigem ulmelist... Raivo Puusepp, arhitekt ja ESLi aastapreemiate zürii liige

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I don’t understand that talk of renewable energy. It simply does not correspond to thermodynamics or the laws of nature. Energy is not created or lost, instead it changes from one state to another. The sun will one day shrink to minute size due to a thermonuclear reaction but even that will take place at the expense of something, regardless of the absence of smoke and ashes as it burns. Just this at the expense of something, more precisely the talk of making the payment of bills pleasant, has given birth to the materialised outcome of Eesti Energia’s new customer service centre imagology inspired by the myth of green energy. It really is difficult to argue with people who prefer green to blue and plywood to plastic. Perhaps many people really do immediately see wood and the colour green when speaking of electricity. Even though electricity is something invisible, more like science fiction‌ Raivo Puusepp, architect and member of the ESL annual awards jury

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Considering the opening up of the energy market, the customer’s wish to give form to its changed content is understandable. New, freshly green, light and airy in terms of overall impression. At the same time – the form of customer service as an actual room is apparently definitely receding. People prefer virtual rooms. I believe that here we are witnesses of something that is disappearing as a physical room in the perspective of a few years time. Just like the last payphone disappeared recently from our urban space. Kaido Kivi, interior architect and chairman of the ESL annual awards jury

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Sisearhitektuuribüroo VLS alustas buumi ajal ning on praeguseks tegutsenud projektide kallal avalikest hoonetest väiksemate eraobjektideni, vahele mõni tore kunstiprojekt. Olulisemate tööde hulka võib arvata käesoleva, ning varasemast ajast näiteks Paide Spordihalli. VLSi sisearhitektid on olnud kaasautoriteks ka Eesti Rahva Muuseumi ning KUMU kunstimuuseumi sisustuse loomisel. The VLS Interior Architecture Bureau started out during the construction boom and by now has worked on projects ranging from public buildings to smaller private objects, with a few nice artistic projects sprinkled in between. This project can be considered among their more important jobs, along with the Paide Sports Arena from among previous projects, for instance. VLS interior architects have been co-authors in creating the interior furnishings for the Estonian National Museum and the KUMU Art Museum as well. www.vls.ee

büroo Turvatehnika

Turvatehnika office

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Tondi 49, Tallinn Ville Lausmäe, Kadi Karmann (VLS) Turvatehnika Megaron ARS Sisustus Reio Avaste

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Must maht on märkamatult kerkinud Tondi tänava pretensioonitusse keskkonda. Kes ja miks peaks sinna sisse astuma, tekib möödujal tagasihoidlik küsimus. Mis hoonega on tegu? Ville Lausmäe (VL): Turvatehnika, nagu nimi ütleb, peaks midagi väga turvalist olema. Reaalsus on see, et firma müüb suitsuandureid jms tehnikat valgest plastmassist, see on maailma kõige igavam kraam. Milline oli tellija lähteülesanne ja mis on sind inspireerinud? VL: Tegelikult imen loo välja tühjalt kohalt – kliendist, või kui sealt ei saa inspiratsiooni, siis kuskilt mujalt haakuva loo, et inimestel jääks lahkudes väga konkreetne tunne, kus nad käisid. Fantaseerides ja olles suur filmihuviline käisid silme eest läbi James Bondi filmid: dr Evil valge kassiga, see justkui sobis. Eesmärk oli elamuslik objekt, hästi viimistletud, hästi puhas, näiteks seinad on peaaegu üleni roostevabast terasest. Kui vana James Bondi vaadata, siis tunne on natuke selline ülbe, samas hästi esteetiline, umbes nagu Berliini juudimuuseumis, kus lae all on üks pilu, kust tuleb hääli ja valgust, et tekiks emotsioon. See interjöör ei loo otseselt pilti turvalisusest, mõjub pigem nagu 3D-pilt. VL: Ta loob illusiooni võimsusest nagu Bondi filmis – kõikvõimsuse, kuid ignorantse tunde. 1/3 on müügisalong, 1/3 nõupidamisruum ja 1/3 on saun. Nii et kõik

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kokku üks suur showroom, kus töötab vaid paar inimest. Aknast välja vaadates on tunne, et siin on peakontor, ja kõik need kaarhallid, mis paistavad, on tootmiseks. Meil oli hästi palju detailidega tegemist. Trepikoda on maailma kõige lakoonilisem, külm ja hõre, puudub tuttavlikkus. Siin on ülipuhas klaas, mis liitub teise klaasiga, ülipuhtalt vormistatult. Ehitusega läks muidugi keeruliselt, neid klaase on siit prügimäele viidud teab mitu korda. High-tech siis tegelikult. VL: Nojah, kodumaiste vahenditega loomulikult. Ma ei ole kunagi uskunud sümboolikasse ja olen selle vägivaldselt meie projektidesse pannud. Oled sa perfektsionist – kui lähed objektile ja seal vaatab vastu miski, mida oled teisiti ette kujutanud. Lähed asjaga kaasa või jääd enda juurde? VL: Ma lähen kaasa niikaua, kui olen võimeline asja ümber mõtestama. Vahel ei saa osapooled enam aru, millal öelda jah, millal ei. Nimetame siis „mööda” lahendust uueks lahenduseks ja kui uus sobib algse kontseptsiooniga, siis miks mitte, ta ei pea olema nagu joonisel. Kui riivab silma, siis kuulub ümbertegemisele, selle määrab sisetunne. Kas kujutleksid end ise siin tumedas ruumis töötamas... VL: Ma olen selline kameeleon, jah, miks mitte. Mu kunagine elamine oli samasugune, vaid lumivalge.

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1. korruse plaan 3. korruse plaan Ground floor plan 2nd floor plan

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A black volume has inconspicuously appeared in the unpretentious environment of Tondi Street. The discreet question of who should enter that building and why occurs to passers-by. What kind of building is this? Ville Lausmäe (VL): Security technology, as the name says, should be something very secure. The reality is that the company sells smoke detectors and other such equipment made of white plastic. That is the most boring stuff in the world.

solution that “misses the mark” a new solution and if the new solution fits in with the original concept, then why not? It doesn’t have to be like it is in the drawings. If it offends the eye, then it has to be redone. Your gut feeling decides that. Can you imagine yourself working in this dark room... VL: I’m a chameleon. Yes, why not? I used to live in a place like this, only it was snow white.

What was the customer’s original task and what inspired you? VL: I actually extract a story from a vacant place – from the customer, or if I can’t get inspiration from there, then a story from somewhere else that ties in so that visitors will have a very explicit feeling of where they were when they leave the building. I’m a big film buff and when I fantasised, I saw James Bond films in my mind’s eye: Dr. Evil with his white cat. That seemed to be suitable. The objective was an object that offered experiences, well finished, immaculately clean. For instance, the walls are almost completely made of stainless steel. If you watch the old James Bond, the feeling is kind of arrogant while at the same time very aesthetic, something like at the Jewish Museum in Berlin, where there is a slit in the ceiling that emits voices and light to create an emotion. This interior does not directly create a picture of security. The effect is more like that of a 3D-picture. VL: It creates an illusion of might like in the Bond films – a feeling of omnipotence yet at the same time ignorance. The sales area occupies one third of the space, the conference room occupies another 1/3, and the sauna covers the final 1/3. Thus it is all in all one large showroom where only a couple of people work. When you look out the window, you get the feeling that this is the head office and all those arced hangars that are visible are for production. We had a lot of work to do on details. The stairwell is the most laconic in the world, cold and sparse. It lacks a certain familiarity. There is extremely clean glass here that joins with another glass, formed extremely cleanly. The construction was complicated, of course. Those glasses were sent to the garbage dump from here countless times. High-tech then actually. VL: Well, yes, using domestic means, naturally. I have never believed in symbolism and I have forced that into our projects. Are you a perfectionist – when you go onsite and you stand face to face with something that you imagined differently? Do you go along with it or do you remain true to yourself? VL: I go along with it as long as I’m able to reinterpret it. Sometimes the parties no longer understand when to say yes and when to say no. Let us then call a

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Turvatehnika majas oli tähelepanuväärne, kui väheste värvide ja materjalidega on võimalik saavutada mänguline elegants. Hoone välisviimistluse tume toon on toodud siseruumidesse. Minu jaoks oli aga üldmulje liialt sünge, kuna tumeda kesta sisse sobiks sama hästi ka hele sisu, ning jätta tume teatraalsus pigem ühiskondlikele hoonetele (näiteks muuseumidele). Reio Avaste, arhitekt ja fotograaf

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It was remarkable how it is possible to achieve a playful elegance in a building for security equipment using few colours and materials. The dark tone of the building’s external finishing has been brought into the interiors. The general impression, however, was too morose for me since light-coloured contents would be just as well suited in a dark casing. Dark theatricality should be left more for public buildings (like museums, for instance). Reio Avaste, arcitect and photographer

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Aet Seire ja Hillar Mänd on õppinud Eesti Kunstiakadeemias sisearhitektuuri ning juhendanud samas pehmemööbli kursust. Nende ühiste projektide hulka sisearhitektuuribüroos A3 kuuluvad nii avalike ruumide lahendused kui nimekate arhitektide eramute interjöörid. Koostööst on sündinud magamistoamööbli sari firmale Kamjo. Aet Seire and Hillar Mänd have studied interior architecture at the Estonian Academy of Arts and have supervised a course in upholstered furniture at the same school. Designs for public spaces as well as the interiors of the private dwellings of renowned architects are among their joint projects at the A3 interior architecture bureau. Their cooperation has let to a bedroom furniture line for the Kamjo Company. www.a3.ee

büroo Pirita teel Office on Pirita Road

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Pirita tee 102/Tallinn Aet Seire, Hillar Mänd (A3) ROK Projekt Nordlin Ehitus Reio Avaste

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Pirita tee äärde rohealale kerkis buumi ajal pretensioonikas klaashoone, mille ümar vorm tekitas möödasõitjates mitmesuguseid uitmõtteid – mida uut on siia oodata? Müügikuulutus ja tühi majakarp seisis meretuulte käes elutuna mitu aastat. Tänaseks paikneb teisel korrusel logistikaga tegeleva suurettevõtte peakontor. Mis hoonega on tegu, kuidas sisearhitektuuri projekt alguse sai ja milliseks kujunes tellija lähteülesanne? Aet Seire (AS): Algselt luksusautode esindussalongiks projekteeritud hoone ootas segastel majandusaastatel uut omanikku ja uut funktsiooni päris kaua. Maja asukoht oli peibutuseks paljudele, kuid hoone lihtne tünjas vorm oma naiivse otsekohesusega oli kui loodud suurettevõtte peakontoriks. Algselt oli äriplaan mahutada ja jagada II korruse tasapind büroo ja restorani vahel. Planeeringute ja eskiisidega aga tõestasime tellijale, et pole eriti nutikas jagada tõmbetuules terrassi pooleks kahe nii erineva seltskonna vahel. Hillar Mänd (HM): Tänu hoone ümarale vormile õnnestub merevaadet püüda suuremast osast akendest. Plaan oli mahutada kõik töötajad nii, et neil oleks „vaade”, millest tulenevalt nõupidamiste ruumid ja üldkasutatavad ruumid jäid hoone sisemusse. Milline oli kokkupuutepunkt arhitektiga? HM: Maja sai funktsioonimuutuse tõttu tarinditeni ümber ehitatud ning avatud vaatega merele. Hoone arhitekt on Karmo Tõra, kellega meid seob pikaajaline sõbralik koostöö. Suhtlus on vahetu, saame olla pingevabalt ausad. AS: Karmo oma maja on samuti ümarvorm, see on tema vormikeel ja me aktsepteerime teineteist.

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Kuidas arenes välja kujunduskontseptsioon ja mis on teid inspireerinud? HM: Ruumides rajasime hoone ümarast vormist lähtuva funktsionaalse ringikujulise ülesehituse. Nii tekkisid sisemised arhitektuursed vaated, peegeldused ja kordused nagu kaleidoskoobis. Ja inspireerisid kindlasti ka inimesed, kellega töö kokku viis – neid oli palju ja erisuguseid. AS: Kompasime tellija maitset ning meie algsest lähenemisest jäid lõpuks sõelale puhastatud „müravabad“ ideed – keskkond hästi toimivale, rahvusvaheliselt väljapeetud firmakultuurile. Väljakutseks sisearhitektile oli selle väliselt imelihtsa arhitektuurse vormi sisemus toimima panna – nagu ikka mitme muutujaga võrrand: funktsioonid, skeemid, tsoonid, nõuded, eeskirjad. Mind inspireeris hoone asukoht ja karismaatiline välismaalasest tellija… piiride kompamine. Mille poolest on see töö olnud teistmoodi võrreldes varasema kogemusega? AS: Meie tellijaks oli ühelt poolt omanik, teiselt poolt eneseteadlik, end väga hästi positsioneeriv rahvusvaheline firma. Projekteerimisprotsessis läbisime mitmeid huvitavaid etappe: pidulikke eskiisi- ja projektiesitlusi; õppisime orienteeruma suurejoonelises korporatiivfirma asjaajamises. Tavapärasem ehk oli erimööbli projekteerimise teostuse järelevalve – ilu ja valu. Kuid lausa uskumatu oli ehitusfirma edukas võidujooks püstitatud ajagraafikuga – keegi ei uskunud nende auahnesse plaani objekt valmis saada kuue kuuga.

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A pretentious glass building was erected during the construction boom in the green area alongside Pirita Road. Its round form inspired various whimsical thoughts in people who drove past – what new activity can be expected here? This unfinished building and its sales advertisement stood lifelessly in the sea breezes for several years. Nowadays the head office of a large logistics enterprise occupies the second storey. What kind of building is this? What was the starting point for its interior architecture project, and what did the customer’s original task turn out to be? Aet Seire (AS): This building initially designed as a dealership for luxury automobiles waited for a new owner and a new function for quite a long time during the years of economic downturn. The building’s location was attractive for many, yet the building’s simple barrel-like form with its naïve candidness was as if tailor-made for the head office of a large enterprise. AS: The initial business plan was to fit the office and restaurant into the second storey and divide the floor up between the two. Using design plans and sketches, however, we proved to the customer that it is not a particularly good idea to divide up the windy terrace between two groups that differ so widely. Hillar Mänd (HM): A view of the sea is possible from the majority of the building’s windows thanks to the building’s round form. The plan was to accommodate all the employees so that they would have a “view”. By virtue of this, the conference rooms and rooms for general use were situated in the inner portion of the building. How did you connect with the architect? HM: The building was reconstructed right down to its structures due to the change in its function and its view of the sea was opened up. The building’s architect is Karmo Tõra, with whom we have engaged in friendly cooperation on a long-term basis. We

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communicate directly and we can be honest in a relaxed way. AS: Karmo’s own house is also a round form. That is the language of his form and we accept each other. How did the design concept develop and what inspired you? HM: We established a functional circular structure in the rooms based on the building’s round form. This created internal architectural views, reflections and repetitions like in a kaleidoscope. And the people this project brought us together with definitely also inspired us – there were many of them and they were all different. AS: We tried to get a feel for the customer’s taste and when we sifted out our initial approach, we were left with clean, “noise-free” ideas – an environment for a well-functioning, internationally sustained company culture. Getting the interior of this externally extremely simple architectural form to function was a challenge for the interior architect – as it always is in an equation with several variables: functions, schemes, zones, requirements, regulations. The location of the building and the charismatic foreign customer inspired me…getting a feel for the limits. In what sense was this project different compared to your previous experience? AS: Our customer was the owner on the one hand and a selfaware international firm on the other that positions itself very well. We passed through several interesting stages in the design process: festive outline and design project presentations; we learned to orientate ourselves in the grandiose bureaucratic procedures of a corporative firm. The supervision of the implementation of the design of custom-made furniture was perhaps more routine – beauty and pain. Yet the contractor’s successful race with the time schedule set for it was altogether unbelievable – nobody believed in their ambitious plan to complete the object in six months!

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Maja, milles bürooruumid paiknevad, on hea ja kindel variant nii-öelda magistraali-arhitektuurist, mida Pirita tee justkui lubaks. Ometi on tegu linnaga ja sellisena jääb hoone ehk liialt rahulikuks ja tavaliseks. Praegu tundub kõnealune hoone oma soliidse ja šiki kujundusega seest oluliselt väärikamana kui väljast.... Reio Avaste, arhitekt ja fotograaf

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The building in which the office rooms are located is a good and sure-fire version of so-called highway architecture, which Pirita Road seems to allow. Nevertheless, this is still a city and as such, the building is perhaps too tranquil and ordinary. The building in question currently seems to be considerably more dignified on the inside than on the outside due to its dignified and chic interior design‌ Reio Avaste, architect and photographer

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Priit Põldme on sisearhitektuuribüroo Joonprojekt asutaja. Koostöös Reet Sepaga on valminud paljude avalike ruumide lahendused kaupluseinterjööridest Eesti Energia ruumideni. Priit Põldme on olnud pikaajaline ESLi juhatuse esimees. Priit Põldme is the founder of the Joonprojekt interior architecture bureau. Solutions for different public spaces from the interiors of stores to the rooms of Eesti Energia have been completed in cooperation with Reet Sepp. Priit Põldme has been the long-standing chairman of the ESL board of directors. www.joon.ee

büroo Ignite

Ignite office

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Tatari 25, Tallinn Priit Põldme, Reet Sepp (Sisearhitektuuribüroo Joonprojekt) Heiki Taras, Ahti Luhaäär (Arhitektibüroo Pilter ja Taras) Kaido Haagen

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ignite office

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Põrandaplaan

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Floor plan

Sisearhitekti kujundatud kaasaegsed bürooruumid on eelkõige hea suhtluskeskkond, kus on mobiilse bürooga võrreldes omad eelised. Avatud ruumi ja privaatse pinna omavaheline haakumine eeldab suhestumist nii sealse töö kui ka töötajatega. Mis on selle ruumi tekkelugu ja kuidas see alguse sai? Milline oli tellija lähteülesanne? Priit Põldme (PP): Lähteülesandena rõhutati avatust, ühtlasi oli vaja leida koht tahvlipindadele, sealt tekkiski pöördseinte idee. Reet Sepp (RS): Õige interjöör ei ole kandiline valmis tükk, vaid vorm, mis ajas muutub ning koos kasutajatega üha areneb. PP: Saime õigel ajal jaole, seega oli meie tandemil võimalik ruumilahenduse loomisel kaasa rääkida. Alguses pidi siia tulema kaks bürood, nüüd on üks suur. On parem kohe õiged otsused teha, kui hakata hiljem mõtlema, mida ette võtta. Kuidas arenes välja sisearhitektuuri projekti kujunduskontseptsioon ja mis on seda inspireerinud? RS: Detailset lahendust nuputasime päris kaua. Läbi tuli mõelda, kuidas ümber oma telje keerlevatest whiteboard’idest pöördseinte vahele ei jääks näpud, milline on nende optimaalne kõrgus ja kuidas seinad keskmises asendis fikseeruvad.

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PP: Pidime arvestama ka akende asukohaga, et lauad saaksid loomulikku valgust. Sisearhitekti jaoks algabki töö tühjast karbist. Sisuliselt olid alguses paigas postid, aknad ja paar kandvat seina. Tuleb mõelda, milline oleks loogiline ja parim paigutus. Et töölaudu saaks soovi korral hõlpsalt nihutada, viidi elektrijuhtmestik lae alla, kust saab voolu viia suvalise punktini kontoris. RS: Meie eesmärk on luua kontorisse keskkond, kus töötajal oleks mõnus olla. Aja mahavõtmist võimaldavad siin büroos näiteks puhkenurk, on olemas venituspulk, et kas või lõuga tõmmates kontoritooli kuju kehast välja saada, lisaks lauamängud ning mugavate toolidega raamatukogu, kuhu iga töötaja ise uut erialast lugemist võib tellida. Mõeldud on ka neile, kes suvel kontorisse kaherattalise seljas väntavad: neile on olemas duširuum. Kui ülejäänud kontor lahendati heledates kargetes toonides, siis puhkenurga puhul eelistasime sügavat punast: tegu on Ignite’i korporatiivse värviga, mis mõjub mõnusa kontrastse aktsendina. Mööblit valides kasutati ära eelmisest kontorist pärit laudu-toole. PP: Leian, et taaskasutus on siinkohal mõistlik mõtteviis. Uhiuued on vaid baaripukid, sisseehitatud köök ja valgustid. Sisustuse eesmärk ei ole selle projekteerijale ausamba püstitamine, asi peab toimima ja olema optimaalne.

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IT-sektoris toimivad ettevõtted on tänaseks olukorras, kus heade töötajate palkamiseks peab lisaks kopsakale töötasule olema ka konkurentide vääriline töökeskkond. Midagi sarnast lugesin hiljuti ajalehest Äripäev. Olen sellega 100% nõus. Kui mainida näiteks pärjatud kujundusega Skype’i bürood (Pink), siis tase, mida püüda, on kahtlemata vägagi kõrge. Tatari tänava büroo priitpõldmelikult nutikad/humoorikad lahendused sobivad igati IT-valdkonna loova meeskonna ootustega. Kohal olles on tunda tellija suurt rahulolu. Kaido Kivi, sisearhitekt ja ESLi aastapreemiate žürii esimees

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Contemporary office rooms designed by an interior architect are above all a good environment for intercommunication with its own advantages compared to the mobile office. Dovetailing between public and private space requires relation to the work that is done there as well as the employees. How did this space come about and where did it start? What was the customer’s original task? Priit Põldme (PP): Openness was stressed as the original task. It was also necessary to find a place for whiteboard space. That is where the idea of rotating walls came from. Reet Sepp (RS): A proper interior is not a ready-made, angular piece. Instead it is a form that changes over time and continually develops together with its users. PP: We were brought in at the right time, thus our tandem had the chance to have our say in creating the spatial solution. Originally there were supposed to be two offices here, now there is one large office. It is better to make the right decisions right away than to start thinking later on about what to do. How did the design concept of this interior architecture project develop and what inspired it? RS: It took us quite a long time to figure out the detailed solution. We had to think through how to ensure that people’s fingers wouldn’t get caught between the rotating whiteboard walls that turn around their axis, what their optimal height would be, and how the walls would be fixated in their central position. PP: We also had to take the location of the windows into account so that desks would be provided with natural light. The work of an interior architect begins with an empty box. Essentially, posts, windows and a couple of load-bearing walls were in place at the beginning. You have to think what would be the best, most logical configuration. The network of electrical cables was placed above the ceiling so that electric power could be provided at any given point in the office in order to make it easy to move desks if so desired. RS: Our aim is to create an environment in the office where it would be pleasant for the employee to be. There is a relaxation area in this office, for instance, for employees to take a break. There is a chin-up bar where you can get the shape of the office chair out of your system. There are also board games and a library with comfortable chairs, where every employee can order new literature related to their occupation. We have also thought about people who pedal their way to the office on two wheels in the summer: there is a shower for them. While the rest of the office is in light, crisp tones, we preferred deep red for the relaxation area: it is the corporate colour of Ignite, which has the effect of a pleasant contrasting accent. The tables and chairs from the previous office were used in choosing furniture. PP: I find that recycling is a sensible way of thinking here. Only the bar stools, the built-in kitchen and the lighting are brand new. The aim of furnishing is not to erect a monument for its designer. The design has to function and be optimal.

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Businesses that operate in the information technology sector are in a situation nowadays where in order to pay good employees, there has to be a working environment that is worthy of the competition in addition to hefty salaries. I read something along those lines lately in the Äripäev newspaper. I agree 100% with that. If we for instance mention the Skype office with its award-winning design (Pink), then the level to strive for is undoubtedly very high. The Priit Põldme style clever/humorous solutions at the Tatari Street office are very well suited to the expectations of the creative team in the information technology field. The customer’s satisfaction can be felt on location. Kaido Kivi, interior architect and chairman of the ESL annual awards jury

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Ruumilabor on loovbüroo, mille asutajateks on sisearhitektid Janno Roos ja Andres Labi. Tänaseks on loodud bürookeskkondi, riigiasutuste esindusruume, hotelle, mitmeid kauplusi, kohvikuid ja restorane ning innovatiivseid näitusekujundusi. Ruumilabori kaasabil valmis Eesti paviljoni projekt EXPO maailmanäitusele Shanghais. Ruumilabor is a creative bureau, the founders of which are the interior architects Janno Roos and Andres Labi. By now they have created office environments, official rooms for governmental institutions, hotels, several shops, cafés and restaurants, and innovative exhibition designs. The Estonian pavilion project for the EXPO world exhibition in Shanghai was completed with the cooperation of Ruumilabor. www.ruumilabor.ee

Kaubamaja lastemaailm

Tallinn Kaubamaja Children’s World

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Gonsiori 2, Tallinn Janno Roos, Andres Labi, Liisa Põime (Ruumilabor) Kaubamaja Kitman, RaSun, HN Steel, ARS Sisustus Kaido Haagen, Terje Ugandi, Reio Avaste

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Põrandaplaan

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5m

Floor plan

Lapsed elavad omas maailmas. Missugust maailma neile aga luua nii, et lapsedki seda omaks peaksid – on sisearhitektile mitme muutujaga võrrand. Mõistagi mänguline, samas ülifunktsionaalne. Kuidas sisearhitektuuri projekt alguse sai, mis oli esimene visioon või kujutlus, mida teha? Milline oli lähteülesanne teile? Janno Roos (JR): Lastemaailmale tekkis täiesti uus ruum. Tellija pöördus meie poole, sooviga luua niisugune pood, mis ei oleks liiga lastepärane, et see kõnetaks ka lapsevanemat, kes ostu teeb. Laps aitab sellele kaasa, motiveerib, innustab vanemat midagi ostma lisaks vajadusele. Hakkasime kontseptsiooni otsima, mis meil seda pinda koos hoiaks, mis on omamoodi riiete virvarr. Mul tekkis idee luua linnakeskkond: linnaosad, tänavad, keskväljak, kellatorn ja mägi – kingamaastik kingapuuga. Andres Labi (AL): Tellija on hästi süsteemne, siin ei saakski teisiti – peab olema mingi väga tugev loogika ja omavahelised seosed, mis on meile väga hea alus. Skeem sünnib koostöös. JR: Tekkis paralleel, et Kaubamaja annab noodi ette, aga pillid on meie poolt. Pealtnäha võib tunduda kaos, aga siin on ka pool ruutmeetrit välja arvutatud, mida müüa, kus on fookus jne. Kaubamajal justkui ei olegi oma nägu, vaid iga osakond on oma nägu ja seda on inimestel huvitav avastada. Kui vana see tegelane on, kes neid linnamaastikke peaks hoomama? JR: Linn on kõigile mõistetav, seal on tänavad ja majad, kus eraldi poiste ja tüdrukute tsoon vanuses kuni 16

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aastat, eraldi beebid, eraldi kingamaastik. Loogika on selles, et igas linnaosas peaks olema mingisugune tõmbepunkt, mis köidab lapsi, kuni vanem tegeleb ostudega. Näiteks play-station-auto poistele, mis on nullist ehitatud – tegime seal katseid lastega, et saavutada õige ergonoomika. Tüdrukutele on arvutimänguga lamba moodi elukas. Kellatorniga tekitame lisapääsu, kust see maailm läheb edasi üles. Kas kaubanduspinda on hea kujundada, kaup teid ei sega, kuidagi kitsaks ei jää? JR: Tegelikult on kõige hullem „vaba teema”. Teemasse mahtumine tähendabki seda, et sul on mingi raamistik ees ja mida tihedam see on, seda loomingulisem su töö saab olla, on väga palju muutujaid, millega pead arvestama. Mulle meeldib ka mõelda, et mida väiksem eelarve, seda rohkem pead panustama, et teha head asja. Kaubanduses on eelarve tavaliselt piiratud ja seega väljakutse meile. AL: Mulle istub see kontsentreeritus – reeglina on tööaega väga vähe ja teema konkreetne, ühesõnaga, hea on teha. Olete ise ka lapsevanemad? JR: Mina olen. Kui me seda kavandasime, siis ma veel ei olnud. Tagantjärele olen tajunud, et mingid asjad on õigesti läinud. Lapsed ei ole konservatiivsed, seepärast on sinna lisatud teine tahk, kuidas luua erinevaid perspektiive: lapsevanema silma kõrgus, mis on vaoshoitud, loogiline ja süsteemne, millele lisandub rohujuure tasand, kus laps liigub, seal me ei ole tagasi hoidnud – detaili, mis last rõõmustaks, on piisavalt.

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Children live in their own world. The kind of world that should be created for them, however, so that children themselves would consider it their own – is an equation with many variables for the interior architect. Needless to say, it is playsome, yet at the same time very functional. How did this interior architecture project start? What was the first vision or image of what to do? What original task was given to you? Janno Roos (JR): An entirely new space was created for Children’s World. The customer turned to us with the wish to create the kind of store that wouldn’t be too child-oriented, which would also address children’s parents who make the purchases. The child cooperates in this, motivates, inspires the parent to buy something in addition to what was needed. We started looking for a concept that would keep this area together, which is

otherwise a kind of kaleidoscope of clothing. An idea occurred to me to create an urban environment: city districts, streets, a central square, a church tower and a hill – a shoe landscape with a shoe tree. Andres Labi (AL): The customer is very systematic. Here we couldn’t do it otherwise – there has to be some kind of very clear logic and interconnections, which is a very good basis for us. The scheme is born through cooperation. JR: Figuratively speaking, it’s as if the Kaubamaja provides the sheet music and we bring the instruments. It might seem like chaos at first glance but what to sell has been calculated by the half square metre, where the focus is, and so on. It’s as if the Kaubamaja doesn’t have its own identity, rather each department has its own identity and it is interesting for people to discover it. How old is the kid that should comprehend these urban landscapes? JR: The city is understandable to everyone. There are streets and houses with separate zones for boys and girls up to 16 years of age, babies separately, a separate shoe landscape. The logic is such that there should be some sort of point of attraction in each city district that will captivate children while their parent makes purchases. For instance, a play station automobile for boys that was build from scratch – we conducted experiments there with children to achieve the correct ergonomics. A creature resembling a lamb with a computer game is for girls. We create another passage with the bell tower, from where that world continues onward and upward. Is it interesting to design merchandising space? Does the merchandise not bother you? Isn’t the space somehow cramped? JR: The worst is actually the “open theme”. Fitting in to a theme means that you have some sort of framework in front of you, and the denser it is, the more creative your work can be. There are very many variables that you have to take into account. I also like to think that the smaller the budget, the more you have to put into the work to come up with something good. The budget is usually limited in merchandising and thus it is a challenge for us. AL: That concentration suits me – as a rule, there is very little time for work and the theme is specific. In short, it is pleasant work. Are you also parents? JR: I am. When we designed this, I wasn’t yet. After the fact I have perceived that some things went right. Children are not conservative. That is why another facet has been added to it, how to create different perspectives: eye height as a parent, which is restrained, logical and systematic, to which the grass roots level is added, where the child moves about. There we haven’t held ourselves back. There are plenty of details that would delight children.

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Nii nunnu! Ühteaegu tõsiseltvõetav ja üle võlli aetud lastemaailm on täpselt seadistatud, suisa hirmuäratavalt märki tabanud, peenelt doseeritud meeltemürk. Jaa, ka sisekujundus võib olla üsna ohtlik relv... Tea Tammelaan, sisearhitekt ja ESLi aastapreemiate žürii liige

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So cute! The children’s world is simultaneously credible and over the top. It is precisely furnished. It hits the mark altogether frighteningly, a precisely dosed narcotic. Yes, interior design can also be a rather dangerous weapon… Tea Tammelaan, interior architect and member of the ESL annual awards jury

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Külli Salum ja Riina Harik on lõpetanud EKA sisearhitektidena. Kolme Õega disainhotellide rahvusvahelisse nimistusse jõudmine on verstapost, kust edasiminek eeldab head väljakutset. Koostöös on valminud ka hotellid Euroopa ja Telegraaf oma büroos Saha IN. Külli Salum and Riina Harik have graduated from the Estonian Academy of Arts as interior architects. Getting their names in the international directory of design hotels through their work for the Kolm Õde (Three Sisters) Hotel is a milestone. Proceeding from that milestone requires a good challenge. They have also cooperated on the completion of the hotels Europa and Telegraaf in their bureau Saha IN. www.saha.ee

Kaubamaja naistemaailm

Tallinn Kaubamaja Ladies’ World

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Gonsiori 2, Tallinn Külli Salum, Riina Harik (Saha IN) Kalle Pruuden Kaubamaja Toon Vugis Kaido Haagen, Reio Avaste

kaubamaja naistemaailm

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Kaubanduses on hea kujundus siis, kui see jääb märkamatuks. Siin omanäolist ruumilahendust luua on keeruline. Siiski on siin igal sammul tajutav naiselik käsi. Ruumi väärtustavad hiidskulptuurid! Kuidas sisearhitektuuri projekt alguse sai, kas pidite hakkama end mingitesse raamidesse suruma? Külli Salum (KS): Raamidesse? Võib-olla küll, minu jaoks on Kaubamaja ikka see vana Kaubamaja, aga Naistemaailm jääb uue Viru Keskuse ja vana Kaubamaja vahele. See oli nagu eikellegimaa. Kuidagi oli vaja piiritleda väravad, et inimesele teadvustada, et see nüüd on Kaubamaja. Kaubamaja on päris professionaalne tellija, milline oli lähteülesanne teile? KS: Logistika ei suunanud inimest mitte kuidagi ja meie esimene ülesanne tellijalt oli, et inimene on vaja osakondade vahele suunata ja läbikäik ära lõigata. Liikumisskeemi tegime mitu korda täiesti ümber, nii et see oli hästi oluline, ja sellele kulus ka palju aega. Me kipume liiga visuaalselt mõtlema, mitte niivõrd kliendi ja kauba loogikast lähtuvalt. Põhimõtteliselt saime hea kooli – ei ole vaja kuhugi otseteid ega vaateid teha.

Riina Harik (RH): Inspiratsiooniks oli trenditeadlikkus, ajatu ilu, põhiväärtused ja nõrkused. Mille poolest on see töö olnud teistmoodi võrreldes varasema kogemusega? RH: Naistemaailma interjööri kujundamine oli justkui hea näidendi tekkelugu. Olemas oli hea tekstiversioon, professionaalne meeskond ja eesmärk. Rollid olid kindlalt paigas ja kõigil soov endast maksimum anda. Ühiselt genereeriti ideid ja avati meile selle teema nüansirohkust ja telgitaguseid. Kogu lugu keerles naiste ümber. KS: Meil oli ikkagi suhteliselt palju vabadust. Lisaks olid siin ülikallid konsultandid, kes vaatasid asja üle, andsid oma nõuanded, et kaup pääseks mõjule. Valgustus on kõik uus – varem valgustati pindu ühtlaselt, aga nüüd on aru saadud, et on huvitavam, kui kuskil on hämar, midagi on välja valgustatud – pole vaja ühtlaselt lux’e jaotada. Palju oli ka proovimise ja katsetamise asju. Alumiiniumlage näiteks väänasime ise. Kellele, missugusele naisele see kauplus on mõeldud? KS: Keskmine klient on ikka klassikalise rõiva ostja. Kaubandust on raske teha, kaup muutub kogu aeg. Aga ma usun, et siin on küllalt palju meie nägu ka. Ikka teed nii, et endale meeldiks, eks?

Kuidas arenes teie kujunduskontseptsioon? KS: Seadsime endale ülesandeks luua arusaam, kus sa oled. Siin on viis osakonda: klassika, trend, teksa, ülerõivas ja pesu. Peab tekkima üldkujundus, mis aitaks sind orienteeruda. On terve hulk shop-in-shop’e, mis tulevad omade kujundustega ja need on vaja sisse sulatada – lähteülesanne anda.

Põrandaplaan Floor plan

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5m

10m

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Ka omaenda kõige julgemas sisekujundusunenäos ei julgeks kokku kuhjata sellist kogust mõtteid, vorme, materjale. Aga autoritel julgusest puudu ei tulnud ning nende unenäost on sündinud üks parimaid ostlema juhatavaid interjööre. Tarmo Piirmets, sisearhitekt ja ESLi aastapreemiate žürii liige

How did your design concept develop? KS: We set ourselves the task to create an understanding of where you are. There are five departments here: classics, trends, jeans, outdoor clothes and underwear. An overall design has to occur that will help you get your bearings. There is a host of shops in shops that come with their own designs and they have to be blended in with each other – they have to be given a primary task. Riina Harik (RH): Awareness of trends, timeless beauty, basic values and weaknesses were our inspiration. In the field of merchandising, good design is design which remains unnoticed. It is difficult to create a distinctive spatial design in this sphere. A woman’s touch can nevertheless be perceived here every step of the way. Gigantic sculptures add value to the room! How did this interior architecture project begin? Did you have to start forcing yourself into some sort of framework? Külli Salum (KS): Into a framework? Perhaps indeed. For me, the Kaubamaja is still that old Kaubamaja, but Ladies’ World is situated between the new Viru Centre and the old Kaubamaja. It’s like no man’s land. It was necessary to somehow delineate a gate to let people know that this here is now the Kaubamaja. The Kaubamaja department store is quite a professional customer. What was its original task for you? KS: Logistics did not channel people in the least and our overriding task from the customer was the need to channel people into the different departments and to cut off the direct route through the passage. We completely redesigned the scheme of customer movement many times, so it was very important and it took a lot of time. We tend to think too visually, not based so much on the logic of customers and the merchandise. Basically, it was a good education for us – it’s not necessary to design any direct routes leading anywhere or to create any views.

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In what sense has this project been different compared to your previous experience? RH: The design of the interior of Ladies’ World was like the way a good play comes about. You have a good script, a professional team and an objective. The roles are definitely set and everyone wants to do their utmost. Ideas were generated collectively and the abundance of nuances of this theme and what goes on behind the scenes were revealed to us. The whole story revolved around women. KS: We still had a great deal of freedom, relatively speaking. In addition, there were extremely expensive consultants here who looked our design over and made their recommendations for bringing the merchandise more to the fore. The lighting was all new – surfaces had previously been lighted uniformly but now it has been understood that it is more interesting if it is dim somewhere and something is accentuated by lighting – it isn’t necessary to spread the luxes out evenly. There were also a lot of things we tried and experimented with. For instance, we shaped the aluminium ceiling ourselves. Whom and what kind of woman is this store meant for? KS: The average customer is still someone who prefers to buy classical clothing. It’s hard to merchandise. Merchandise changes all the time, but I believe that quite enough of this has our own stamp on it. You still make things so that you like it, right?

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Even in my boldest interior design dreams, I wouldn’t dare pile up such an accumulation of ideas, forms and materials. But the authors did not lack daring and one of the best interiors that channel people to shop has been born out of their dream. Tarmo Piirmets, interior architect and member of the ESL annual awards jury

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N채ituse kujundus Exhibition design


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„Riigikogu hoone 90”

PopUp shop „Disain, loomulikult!”

“Estonian parliament building 90”

PopUp Shop “Design, naturally!”

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„Vettpidavad allikad”

„Siin me oleme!”

“Watertight sources”

“Here we are!”


Ruumilabor on loovbüroo, mille asutajateks on sisearhitektid Janno Roos ja Andres Labi. Tänaseks on loodud bürookeskkondi, riigiasutuste esindusruume, hotelle, mitmeid kauplusi, kohvikuid ja restorane ning innovatiivseid näitusekujundusi. Ruumilabori kaasabil valmis Eesti paviljoni projekt EXPO maailmanäitusele Shanghais. Ruumilabor is a creative bureau, the founders of which are the interior architects Janno Roos and Andres Labi. By now they have created office environments, official rooms for governmental institutions, hotels, several shops, cafés and restaurants, and innovative exhibition designs. The Estonian pavilion project for the EXPO world exhibition in Shanghai was completed with the cooperation of Ruumilabor. www.ruumilabor.ee

„Riigikogu hoone 90”

“estonian parliament building 90”

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Lossiplats 1A, Tallinn Janno Roos, Andres Labi (Ruumilabor) Mait Väljas Riigikogu kantselei Identity Ruumilabor

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Ruumilabori Riigikogu hoone näituse lahendus oli hästi kerge ja vaimukas, ja seda mitte sisu arvelt. Mari Kurismaa, sisearhitekt ja ESLi aastapreemiate žürii liige

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Arhitektuurinäitus, mis on vormunud kunstiprojektiks, on küll kohaspetsiifiline, kuid rändab edukalt ringi eri paikades ja suudab tahes-tahtmata üllatada ka pahaaimamatut poliitikut. Mida näidatakse ja miks ja kellele? Janno Roos (JR): See oli päris keeruline ülesanne teha arhitektuurinäitus arhitektuurselt nii nõudlikku ruumi, kus meil seinapinda üldse ei olnudki. Näitus tutvustab Riigikogu hoone arhitektuuri: kui me räägime hoonest, siis me peaksime rääkima selle funktsioonist – meil on seadusandlik jõud ehk siis Riigikogu institutsiooniks ehitatud maja, mis on 90 aastat vana. Kuidas siduda inimest arhitektuuriga? Me ei pane lihtsalt vanu jooniseid üles, mis oleks klišee või ka ebahuvitav, seal pole piisavalt intriigi – mis selekteerib osa publikust kohe välja, need, kes joonist lugeda ei viitsi, ei taha, ei oska. Näituse taotlus on ennast mitte kohe kätte anda. Koostöös Identity meeskonnaga ründasime teemat: mis on kujund, mis sümboliseerib inimest, kes töötab täna ja on töötanud siin majas 90 aastat. Eks ta üks valgekrae ole! Niisiis printisime triiksärgi seljale arhiivist kopeeritud vanade jooniste lõikeid, vaateid. Näoga hoonesse siseneja poole seisavad lihtsalt särgid, mis tekitas elevust poliitikute seas. Tahtsime teha 101 tegelast, kuid on vähem. Originaaljoonised on stendide klaasi all. Ruumis te mingeid muutusi ette ei võtnud, ka valgustus jäi samaks? JR: Autoga ette, tõstsime oma tegelased maha ja kõik. Oleme Riigikogule kujundanud umbes viis näitust ja tõestanud, et me läheneme omal kombel ja see kas meeldib või mitte. Selle kavandi puhul tekkis intriig ka otsustajate seas, kuraator kahtles, kas idee pole liiga radikaalne või ehk jääb liiga marginaalseks – kuna info ei ole vatmanile prinditud. Aga me tahtsime tähelepanu võita. Me peame ikkagi lähtuma inimesest, ka spordihall on inimeste jaoks. Inimene on oluline, ei maksa taandada arhitektuuri lihtsalt igavateks joonisteks. Tellija pool uskus meid kohe, et võiks teha midagi ebatraditsioonilist. Andres Labi (AL): Siin on annus huumorit, mis võiks pigem meeldida. Ma näen mingit seost kaupluste ja näitusekujunduste vahel, kaupa on nii palju, et sa ei suudagi sinna sisse minna. JR: Idee iseenesest peaks kiiresti kohale jõudma. Usun, et keskmine külastaja viibib seal oma kolm minutit, mis on meie jaoks huvitekitajana juba suur saavutus! Mis särkidest edasi saab – kas toimub mingi oksjon, kas poliitikud kavatsevad neid kandma hakata, või saaksin ise ühe osta? JR: Oksjoniidee heategevuseks oli, aga see taandus esialgu organisatoorsete küsimuste taha. Tegelikult on lihtne selle näitusega ringi rännata. AL: Ilusa ilmaga väljas oleks väga lahe, kuidas särgid liiguvad tuules...

Väga efektne idee, aga sisu mõttes – ega need särgid eriti hästi loetavad ei olnud, aga saab hakkama! Leele Välja, arhitektuuriloolane

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This architectural exhibition, which has been formed into an art project, is location specific, yet it travels about successfully in different places and manages in spite of itself to surprise even unsuspecting politicians. What is on display, why and for whom? Janno Roos (JR): It was a rather complicated task to put together an architectural exhibition in a room that is so architecturally demanding, where we had no wall space whatsoever. The exhibition introduces the architecture of the Riigikogu building: when we talk about the building, then we should talk about its function – we have a building built for our legislative branch of power, in other words the Riigikogu, that is 90 years old. How should people be tied in with architecture? We don’t simply hang up old drawings, which would be a cliché or would also be uninteresting. That doesn’t evoke sufficient intrigue – which eliminates part of the public right away, those who can’t be bothered to read the drawings, or don’t want to, or don’t know how to. The aim of the exhibition is not to give itself away immediately. We attacked the theme together with the Identity team: what is the image that symbolises the person who works in this building today and who has worked here for 90 years. No doubt he would have to be a white-collar worker! Thus we printed sections and views from old drawings copied from the archives on the backs of dress shirts. Just plain shirts face people entering the building, which electrified politicians. We wanted to make 101 characters but there are fewer. The original drawings are behind glass in stands.

exhibitions for the Riigikogu and proven that we approach things in our own way. People either like it or not. This project gave rise to intrigue among the decision-makers as well. The curator was uncertain whether the idea would be too radical or that it may perhaps turn out to be too marginal – since information is not printed on paper. But we wanted to win attention. We still have to start with people. Sports venues are for people, too. People are important. Architecture should not be reduced simply to boring drawings. The customer believed us right away, that something non-traditional could be done. Andres Labi (AL): There is a dose of humour here that people might like. I see a kind of connection between stores and exhibition designs. There is so much merchandise that you can’t even manage to go inside. JR: In and of itself, visitors should grasp the idea quickly. I believe the average visitor remains at the exhibition for about three minutes, which is a big accomplishment for us already in terms of generating interest! What will become of the shirts – will there be some sort of auction, will politicians start wearing them, or could I buy one myself? JR: We originally had an idea for holding an auction for charity but it was set aside for the time being due to organisational problems. It’s actually easy to travel about with this exhibition. AL: It would be real cool outside in nice weather, with the shirts moving in the breeze…

Didn’t you change anything in the room? Did the lighting remain the same as well? JR: We pulled up in front of the building, unloaded our characters and that’s all. We have designed about five

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The Ruumilabor Riigikogu building exhibition design was very light and witty, but not at the expense of its content. Mari Kurismaa, interior architect and artist

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A very impressive idea, but in terms of content – those shirts were not that easy to read, but we can manage! Leele Välja, historian of architecture

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KAOS Arhitektide asutajad on arhitekt Margit Aule ja sisearhitekt Margit Argus. Neid huvitab avalik ruum nii hoonete sees kui ümber. Näituste ja muuseumide töögruppides on hiljuti valminud olulised objektid nagu Lennusadama Meremuuseum ja Tallinna Teletorni rekonstruktsioon. The founders of KAOS Architects are the architect Margit Aule and the interior architect Margit Argus. They are interested in public space both within and around buildings. Key objects like the Seaplane Harbour Maritime Museum and the reconstruction of Tallinn’s television tower have recently been completed in the working groups of exhibitions and museums. www.kaosarhitektid.ee

PopUp Shop „Disain, loomulikult!”

PopUp Shop “Design, naturally!”

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Suur-Karja 3-2, Tallinn Margit Argus, Margit Aule (KAOS Arhitektid) Goethe-Institut Estland Kaarel Narro, Tõnu Narro KAOS Arhitektid

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Mäletan, et see kujundus avaldas muljet. Ühtaegu mugav, leidlik ja esteetiline. Parim osa kujundusest oli see, et väärtustas ruumis olevat väljapanekut. Seda juhtub harva. Reet Aus, moedisainer ja „Disain, loomulikult!” eksponent

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Disainimaailma ja kaubanduselu kohtumispaigaks on galerii – valge kuup –, kus ruumi ja ekspositsiooni kooskõla on raske ülehinnata. Sedakorda kohtusid siin erinevad kultuuriruumid ehk siis loomingulised natuurid, kes sulanduvad üheks oma sarnasuste ja erinevustega.

The gallery is the place where the design world meets the life of commerce and trade – a white cube where it is difficult to overestimate the harmony of space and exposition. This time, different cultural spaces met here, in other words creative dispositions that coalesce into one with their similarities and differences.

Mis on selle näituse tekkelugu ja kuidas see alguse sai? Margit Argus (MA): Tegemist on ettevõtmisega, mille initsiaator oli Goethe Instituut Eestis ja see oli osa iga-aastasest festivalist „Saksa kevad“. Mõte oli eksponeerida jätkusuutlike disainerite loomingut nii Saksamaalt kui ka Eestist, teha PopUp Shop, mis on nii näitus kui ka pood. Eksponeeritud autorid kasutavad innovaatilisi, loodust säästvaid materjale ning tehnikaid, vastandudes sellega kiirmoele ning vastutustundetule ületarbimisele. Vaid kümneks päevaks oli valgete seintega galerii vaja muuta ekspositsiooni- ja müügiruumiks Eesti ja Saksa disainerite rõivastele ja aksessuaaridele. Kujundus võeti osadeks lahti ja säilitati, et seda uutel näitustel taaskasutada. Margit Aule (MA): Goethe Instituut ja selle juht Ralf Eppeneder on olnud ideaalne tellija: esitab põneva ülesande, usaldab, aga kontrollib ja peab lugu kvaliteedist. Selliseid tellijaid oleks rohkem vaja. Inimesed on selle näituse väga hästi vastu võtnud.

How did this exhibition come about and where did it start? Margit Argus (MA): The initiator of this endeavour was the Goethe Institute in Estonia and it was part of the annual German Spring Festival. The idea was to display the creative work of sustainable designers from both Germany and Estonia, to create a PopUp Shop that is both an exhibition and a shop. The displayed authors use innovative materials and techniques that conserve nature, thus opposing rapidly changing fashion and irresponsible over-consumption. The gallery with its white walls had to be converted into an exposition and sales space for clothing and accessories by Estonian and German designers for just ten days. The design was disassembled and preserved in order to reuse it in subsequent exhibitions. Margit Aule (MA): The Goethe Institute and its manager Ralf Eppeneder have been an ideal customer: it presents an intriguing task, places its confidence in you but also checks up on you, and places a premium on quality. More customers of this kind are needed. People received this exhibition very well.

Milline oli hoone, ruumi, näituse sisu ja kujunduse omavaheline suhe? Kuidas arenes välja näituse kujunduskontseptsioon ja mis on inspireerinud? MA: Ruum ja näitus lõid terviku. Arvestatava hulga riiete eksponeerimiseks on parim abivahend stange – sellest tulenes idee kasutada kõiki ruume läbivat musta painutatud metalltoru, mis joonistaks uue graafilise joonemustri valgesse keskkonda. Toru lahendas kõik näituse vajadused. Selle külge sai riputada esemed riidepuudega, konksude abil kotid, kingade ja kokkuvolditud riiete jaoks kinnitusid toru külge riiulid. Samuti olid toru küljes kaubamärkide nimed. Kas miski on läinud teisiti, kui algselt plaanitud (nn Murphy seaduse järgi)? MA: Algne kontseptsioon oli eksponeerida esemeid hõljuvatel „paberilehtedel”. Siis selgus, et vaja on hoopis stangesid. Paar nädalat enne tähtaega muutsime kontseptsiooni ja korraldasime valmistamise nii, et kõik loksus õigeks ajaks paika.

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What was the relationship like between the building, the room, the content of the exhibition and the design? How did the exhibition’s design concept develop and what inspired you? MA: The space and the exhibition created a whole. The best means for displaying a considerable amount of clothing is the clothes rack – this is what led to the idea to use bent black metal piping running through all the rooms that traced a new graphic line pattern in the white environment. The piping took care of all the needs of the exhibition. Objects with clothes hangers could be hung on it, as well as bags with the aid of hooks. Shelves were attached to the piping for shoes and folded clothing. Brand names were also attached to the piping. Has anything gone differently than you originally planned (according to Murphy’s Law)? MA: The initial concept was to display objects on floating “sheets of paper”. Then it turned out that clothes racks were needed instead. A couple of weeks before the deadline we changed the concept and organised the preparations so that everything fell into place in time.

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1m

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I remember that this design left an impression on me. Cosy, resourceful and aesthetic all at once. The best part of the design was the fact that it appreciated the exposition in the room. That rarely happens. Reet Aus, fashion designer and expounder of “Design, naturally!”

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Ruumilabor on loovbüroo, mille asutajateks on sisearhitektid Janno Roos ja Andres Labi. Tänaseks on loodud bürookeskkondi, riigiasutuste esindusruume, hotelle, mitmeid kauplusi, kohvikuid ja restorane ning innovatiivseid näitusekujundusi. Ruumilabori kaasabil valmis Eesti paviljoni projekt EXPO maailmanäitusele Shanghais. Ruumilabor is a creative bureau, the founders of which are the interior architects Janno Roos and Andres Labi. By now they have created office environments, official rooms for governmental institutions, hotels, several shops, cafés and restaurants, and innovative exhibition designs. The Estonian pavilion project for the EXPO world exhibition in Shanghai was completed with the cooperation of Ruumilabor. www.ruumilabor.ee

„Vettpidavad allikad”

“Watertight sources”

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Pikk 17, Tallinn Janno Roos, Andres Labi (Ruumilabor) Krista Sarv Eesti Ajaloomuuseum Identity Tederdisain Ruumilabor

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Väga hea näitus, efektne, ilma et oleks labane. Elegantselt leitud õige rakurss! Leele Välja, arhitektuuriloolane

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Ajaloomuuseumi ei ole tallinlasel just tihti asja. Siiski on põhjust aeg-ajalt asja teha. Lisaks hiljaaegu valminud muuseumi uuele kaasaegsele püsiekspositsioonile toimub seal haaravaid pisinäitusi, mille otsa komistada. Mida seal eksponeeritakse ja kuidas tekkis näitusele ruum? Janno Roos (JR): Lugu on lihtne: leiti üks varalaegas (13. sajandist) ehk ühe rändkaupmehe reisikast, unikaalne leid Põhja-Euroopa mastaabis, sellest ajast nii kompleksset kogumit esemeid ei olegi leitud. Tegemist on allveeuuringute käigus leituga. Tahtsime näitusega edasi anda meeleolu kesk sadu aastaid vee all vedelenud kola, saavutada suhteliselt toretsevas näituseruumis vaoshoitud ja väljapeetud tunnetus. Leitud on kastitäis asju – killud ja mündid, noatuped, kaaluvihid, sisuliselt „kontoritarbed”. Läänemeres on nähtavus vaid paarkolm meetrit, nii et selline haruldane leid. Andres Labi (AL): Asju oli veel – muudel perioodidel leitud, väga erinevaid – kuidas võtta seda kokku ühise nimetajaga? JR: Inspireerisid õhumullid vees. Võtsime aluseks kupli (tegelikkuses tänavavalgustikuppel) ja eksponeerisime kõik esemed eraldi mulli sees, justkui konserveeritud. Ruumi tegime hämaraks, lõime saarekesed, kus mullid on oma sisemise valgustusega või ka valgusvihk peale suunatud. AL: Enamik asju olid väikesed, mahtusid hästi mulli sisse, et ei saaks neid katsuda. JR: Lisaks on luup, et saaks münte uurida. Tollest ajast

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maalitud maakaart, mille suurendasime seinale. See on võrdlemisi abstraktne, kus pooled riigid ja mandrid on kummalisel kohal, mõndagi on puudu. Kas Ajaloomuuseumis toimus modernne vastandumine või pigem sulandumine? AL: Pigem ikka sulandumine, me saavutasime meremuuseumi feeling’u. Asjad, mida eksponeerisime, on peaaegu samast ajast, kui maja. Mull eristab autentset ruumi ja samast ajast pärinevat eset, allegooriline seos tekib, mull loob mingi konteksti. Ruum on jõuline ja jutukas. Sellest ei tohiks näitust kujundades üle karjuda, see ongi üks lähtekoht: kui ruum on tugeva loomuga, peaks kujundus olema tundlik, et mitte loomulikku keskkonda lõhkuda. Valus on midagi lisada, mis lõhub. Siin ruumis on õhku. Mida tellija ootas? JR: Oleme Ajaloomuuseumile viis-kuus näitust kujundanud, eks me juba tunneme üksteist. Nende soov oli, et püsiksime teemas ja eelarves ning looksime turvalise ekspositsiooni, et see säiliks. Siin on sulnis ja rahulik. Kas tööprotsess on ka pigem puhkuse moodi? AL: On pigem nagu palgata puhkus – hea võimalus stambist välja astuda. Ma imetlen Inga Raukase näitusekujundusi, mis on hästi teravad ja täpsed. Näitus on pretensioonikam kui interjöör, tal ei ole otsest kasutajat. Suhtun ise kriitilisemalt näituseprojekti, see on nagu kunstiprojekt, kontseptsioonipõhine.

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Tallinners do not often have motivation to go to the History Museum. There is nevertheless reason to go there from time to time. In addition to the museum’s new contemporary permanent exhibition that was recently completed, absorbing mini-exhibitions are held there that you can stumble onto. What is on display there and how did the space for the exhibition come about? Janno Roos (JR): The story is simple: a treasure chest (from the 13th century) or the travelling trunk of a travelling merchant was found, a unique find on the scale of Northern Europe. Such a complete collection of objects has not previously been found from that era. It was found in the course of an underwater investigation. We wanted to convey the mood amidst junk that had been lying around under water for hundreds of years, to achieve a restrained and sustained feeling in a relatively luxurious exhibition space. A chest full of things has been found – fragments and coins, knife sheaths, weights, basically “office supplies”. Visibility in the Baltic Sea is only a couple of metres, so this kind of find is exceptional. Andres Labi (AL): There were other things as well – very different items found in different periods – how can all this be summed up under a common denominator? JR: Air bubbles in water inspired us. We adopted the globe as the basis (actually the globe of a streetlight) and displayed all the objects separately in bubbles, as if they were conserved. We made the room dim and created little islands where bubbles are lighted internally or by a beam of light. AL: Most of the objects were small and fit into the bubbles well, so that they could not be touched. JR: There is also a magnifying glass for examining the coins. And a map painted in that era that we enlarged

and hung on the wall. It is relatively abstract, half the countries and continents are in strange places, and some places are missing altogether. Was this a case of modern contrasting or more of amalgamation at the History Museum? AL: It was more amalgamation. We achieved the feeling of the Maritime Museum. The objects that we displayed are almost from the same time as the building itself. The bubble sets the authentic room apart from the object from the same era. An allegorical connection is created. The bubble creates a kind of context. The room is powerful and communicative. One should not drown it out with shouting when designing the exhibition, that is one point of departure: if the room has a strong character, the design should be sensitive in order to not destroy the natural environment. It is painful to add something that destroys. There’s air in this room. What was the customer expecting? JR: We have designed five or six exhibitions for the History Museum, so we already know each other. They wanted us to stick to the theme and the budget while creating a safe exposition, so that it would be preserved. It is delightful and peaceful here. Is the work process also more like a vacation? AL: It’s more like a vacation without pay – a good opportunity to shake off clichés. I admire the exhibition designs of Inga Raukas. They are very sharp and precise. The exhibition is more pretentious than the interior. It doesn’t have a direct user. I myself relate more critically to the exhibition project. It’s like an art project, concept-based.

Very good exhibition, impressive without being trite. The right angle found elegantly! Leele Välja, historian of architecture

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Hannes Praks on Saaremaal sündinud sisearhitekt ja pereisa. Ta on õppinud EKAs sisearhitektuuri, täiendanud end ärijuhtimise, tarkvaraarenduse ja keelte (saksa, hiina) alal. Hannes Praks on kujundanud üle 150 füüsilise ruumi, laiemat tuntust on ta kogunud Rahva Raamatu kauplustega. On Eesti Mesinike Liidu liige. Hannes Praks is an interior architect and father born in Saaremaa. He has studied interior architecture at the Estonian Academy of Arts, and has supplemented his education in the fields of business administration, software development and languages (German, Chinese). Hannes Praks has designed over 150 physical rooms. His designs for the Rahva Raamat bookstore chain have earned him widespread recognition. He is a member of the Estonian Association of Beekeepers. www.hannespraks.ee

„Siin me oleme!”

“Here we are!”

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Pirita tee 56, Tallinn Hannes Praks, Toomas Pääsuke, Helen Sarapuu (HPS) Maria Mang, Tõnis Liibek, Inge Laurik-Teder, Herke Vaarmann Eesti Ajaloomuuseum Stella Skulatšjova, Kerli Virk Vennad Ehitus Tartu Puukoda Kaarel Narro Villu Plink Anu Vahtra Reio Avaste

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Näitus „Siin me oleme! Eesti filmi esimene sajand” on ka tänavu avatud Maarjamäe lossis, kuigi Eesti filmi sajandat verstaposti tähistati suurejooneliselt möödunud aastal mitmetes formaatides ja näitusepaikades. Hannes Praks (HP): Pidustused toimusid möödunud aastal ja Ajaloomuuseum käivitas ka pikaajalise näituseprojekti. Maarjamäe loss iseenesest asub sellises kohas, et sinna ei jõua mitte keegi. Pirita tee lõikab läbi selle promeneerimisraja. Kasutad kujunduses vineeri, miks nii? HP: Mõtlesin sellisele klassikalisele filmidekoratsioonile, aga see on tagurpidi: sa vaatad dekoratsiooni tagant võtteplatsi poole, siit ka värvimata vineer. Ruuporite puhul on motiiv kaamera päiksekaitsest. Taust on suhteliselt hõre: „Hukkunud Alpinisti hotellist” üks jääpurikas... Näitusel on enamasti esemed, lisaks mõned filmilõigud ja -mängud. Nii palju kui Eesti filmi hõredal maastikul esemeid oli, sai need sinna ritta laotud. Mina mõtlesin, et teeks filminäituse, kus me üldse filmi ei näitagi. Teekski päris puust näituse, mitte digitaalse, mõeldes lastele, kellel on nagunii iPadid ju käes. Nüüd nad tulevad sinna ja saavad pärisvändaga ringi vändata – see on kuidagi ruumiline. Mingites nurkades treilerid ikka vilguvad, aga minimaalselt. Sisearhitektuur ja näitused – kas sulle meeldib näitusi kujundada? HP: Ma olen ka vist uus näituse tegemistes, aga ta on mõnusalt aeglasem ja sisulisem. Mulle tundub, et praegu on sisearhitektuuris äge projekt see, kus ei ole palju tehtud, vaid just vähe tehtud, uus lähteülesanne peaks olema see, kuidas teha eriti äge mittemiski. See oli eelmise dekaadi teema, kuidas teha eriti sädelevat ja eriti võimsat. Võib-olla ma eksin, ma ei ole seda mõtet veel lõpuni ära mõelnud. Arutu tarbimine on erinevatel põhjustel vähenenud. Uue põlvkonna puhul tunnen ka, et alternatiivi otsimine on oluline. Eriti võimas eimiski, selles on nagu midagi. Ei teagi, kuidas seda napimalt teha. Mida sa tahaksid kujundada? HP: StartUp’i kontori parajasti tegin, see skene tundub väga huvitav, neil on hoopis teine energia, teine tempo ja teine liikumine. Rahvusvaheliselt tahaks ka tegutseda natuke, ei tea veel, kas õnnestub...

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The exhibition Here we are! The First Century of Estonian Film remains open this year in Maarjamäe Castle, even though the one-hundredth milestone of Estonian film was grandiosely celebrated last year in many formats and exhibition locations. Hannes Praks (HP): The celebrations were held last year and the History Museum also started up a longterm exhibition project. Maarjamäe Castle itself is located in a place where nobody goes. Pirita Road severs the track of its promenade. You use plywood in the design, why so? HP: I thought of a kind of classical film set but it is backwards: you look in the direction of the film set from behind the scenes. This is where the unpainted plywood comes from. The motif of the camera’s sunshade is in the form of megaphones. The background is relatively sparse: one icicle from Hukkunud Alpinisti hotel (Hotel for Perished Mountain Climbers)…There are mostly objects at the exhibition, and in addition some film clips and film games. As many objects as there are in the sparse landscape of Estonian film, they were lined up there. I thought I’d like to put together a film exhibition where we don’t show any films at all. I’d put an exhibition together using real wood, not digital, thinking of children, who all have iPad’s any-

way. Now they come here and can turn a real crank – that’s somehow spatial. Trailers flash in some corners anyway, but minimally. Interior architecture and exhibitions – do you like to design exhibitions? HP: I’m new to designing exhibitions, but it is pleasantly slower and more substantial. It seems to me that in interior architecture nowadays, the awesome project is where not much is done, but rather very little is done instead. The new original task should be how to make an especially nothing. How to make something especially glittering and especially powerful was the theme of the last decade. Perhaps I’m mistaken. I haven’t thought that idea through completely. Senseless consumption has decreased for different reasons. In terms of the new generation, I also feel that it is important to seek an alternative. A particularly powerful nothing, there is something in that. I don’t know how to do it more minimalistically. What would you like to design? HP: I just designed the StartUp office. That skene seems to be very interesting. They have an altogether different energy, a different tempo and a different type of movement. I’d like to work internationally a bit as well. I don’t know yet if that will succeed…

Näituse totaalselt vineeri pakitud algus tekitas huvi, kuidas mõjub pimeda vineerkasti sees olek... omamoodi kogemus küll... Siiski, pikalt ei pea vastu ka nostalgiliste teemade ja ülihuvitavana tundunud eksponaatide keskel. Detailides oli nutikaid kiir- ja lihtlahendusi. Ühtlaselt tahumatu teostus jättis mulje pigem aja- või rahanappusest kui teadlikust kujunduslikust valikust. Tea Tammelaan, sisearhitekt ja ESLi aastapreemiate žürii liige

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The beginning of the exhibition, which is totally packed into plywood, aroused interest in what effect being in a dark plywood box has…an interesting experience indeed in its own way…nevertheless, one cannot hold up for long even in the middle of nostalgic themes and exhibits that seemed particularly interesting. There are astute, quick and simple solutions in the details. The uniformly coarse implementation of the exhibition design created the impression more of a lack of time or money rather than of a conscious design decision. Tea Tammelaan, interior architect and member of the ESL annual awards jury

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Ese Object


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mööbliese Pop-up Wrap-up

moodulmööblisüsteem L.e.s.s.

Outdoor exhibition stands

Piece of furniture PopUp WrapUp

Modular furniture system L.e.s.s.

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laste- ja noortemööbel Muruum

vaibaseeriad Pohl; Pohl.Betoon

Muruum furniture for children and

Carpet lines Cowberry;

young people

Cowberry.Concrete


Eesti Kunstiakadeemias kohtunud innovatiivne kolmik arhitekt Gert Sarv, sisearhitektid Loreida Hein ja Galina Burnakova on välja töötanud Tallinna Sadama kruiisituristide ala arhitektuurse lahenduse, City Marina restorani ja Admiraliteedi basseini äärsete promenaadide ideeprojekti. Varasemas koostöös on valminud lahe, popp Katusekino lahendus. The innovative threesome of architect Gert Sarv and interior architects Loreida Hein and Galina Burnakova met at the Estonian Academy of Arts. They have worked out the architectural solution for the cruise tourist area of Tallinn Harbour, the City Marina restaurant and the idea project for the promenades along the Admiralty Basin. The cool design for the pop Katusekino (Rooftop Cinema) is a previous project completed by this threesome.

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Gert Sarv, Galina Burnakova, Loreida Hein Tallinna Sadam Stentmet, Kiili Betoon, Projektgrupp Rosenberg Loreida Hein, Kaido Haagen

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Lihtne universaalne vorm, ilus konstruktsiooniloogika ja asjalik teostus olid ka põhjuseks, miks žürii otsustas välinäituse stendi tootekujunduse preemiaga esile tõsta. Tea Tammelaan, sisearhitekt ja ESLi aastapreemiate žürii liige

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Vanasadama Admiraliteedi basseini tuulisel kaldapealsel püüab pilku arhitektuurne väikevorm: näitus linnaruumis. Praegu jalutab seal pigem turist kui linlane, kuid kiiresti muutuvas koosluses võib see olla peatselt vastupidi. Samuti mängivad stendid kätte ideaalse võimaluse rändnäituseks, miks mitte korrastada keskkonda samade näitusestendidega teises kontekstis. Või teha sealsamas arhitektuurinäitus. Mis on selle näituse tekkelugu ja mis sündmustega see on seotud? Gert Sarv (GS): See näitus on osa sadamakai terviklahendusest, mille eskiisina välja pakkusime, kuid reaalselt on see ainuke asi, mida hetkel teostati, suurt pilti praegu teie ei näe. Kiire nagu alati, oli soov eelmise aasta Merepäevadeks näitus püsti saada. Kuraator pani fotomaterjali kokku ja plaanis on see uue teemaga välja vahetada, mis on seotud sadama või merendusega või kui linna poolt mõni mõte tekib, siis why not. Või pakkuda välja konsulaatidele, kes meil on – stendide arv klapib, Euroopa päevaks näiteks. Milline oli tellija lähteülesanne? Galina Burnakova (GB): Mobiilsus eelkõige. Kui on vajadus, saab selle tõstukiga mõne teise terminali juurde liigutada, „kahvel” sõidab siia täpselt alla, selles mõte ongi. GS: Ja siis muidugi vandaalikindel, sügistuultekindel. Arendasime siit raami mõtet, et pilt jääks hästi õhuliselt rippuma ja purjeefekti ei tekiks. Teine mõte oli see, et ta töötaks ka ilma piltideta n-ö iseseisva kahepoolse installatsioonina. Tekib perspektiiv. Metall on paks ja mahuline. Mõte on arenenud laevakere paksust metal-

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list, kuidas see on värvitud – punane kärts toon – kõik need poid, pollarid ja kai servad. GB: Siiski mitte otseselt, mitte kitš. GS: Betoonelement on selle tarbeks valatud, kogu teostus on väga hea. See näitus on kohaspetsiifiline. Kuidas toimus suhestumine linnaga, merega, millised olid teie esimesed emotsioonid? GB: Kai oli pikk ja kitsas. Inimesed jalutavad siin nagu promenaadil. Aga et nad lihtsalt ei jalutaks läbi, vaid peatuks korra, jälgiks midagi põnevat ja uut. GS: Suvel on see kõige aktiivsem keskkond Admiraliteedi basseini ääres, City Marina restoran muidugi ka. Siin liiguvad turistid. Kas linnainimene üldse siia jõuab? GS: Kui ükskord läheb käiku ka tühermaa täisehitamine, siis hakkab tervik moodustuma, praegu ei ole kuhugi suunduda, puudub suurem tõmbekeskus. Kas see töö on olnud millegipoolest isemoodi? GS: See on väikeobjekti teema. Väga suurte objektide puhul, kus kipub kontroll detailide üle kaduma, tunnen ennast kuidagi ebakindlalt. GB: Sina oled klassikaline arhitekt nagu Corbu oli, teed maja ja kõik kuni ukselingini välja. Minu jaoks disain on disain. See on otse keskkonnas, ma olen seal palju hänginud, vanasti ei olnud siin palju midagi, tuled rattaga, sööd oma võiku ja... Kontseptuaalselt oli meie mõte tuua inimesed mere äärde. Kõik disainerid ja sündmused nagu Lift 11 on sellele viidanud. Peab olema väike põhjus minna mere äärde, linnainimesele pole palju vaja.

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A small architectural form catches the eye on the windy embankment of the Old Harbour’s Admiralty Basin: an exhibition in open space in the city. Mostly tourists currently stroll about there instead of city residents but before long, that can turn around in the rapidly changing surroundings so that the opposite will be true. The stands also provide an ideal opportunity for a travelling exhibition. Why not spruce up the environment using those same exhibition stands in a different context? Or hold an architecture exhibition there? How did this exhibition come about and what events is it connected to? Gert Sarv (GS): This exhibition is part of the overall design of the harbour quay, which we proposed as a preliminary sketch. This, however, is the only part of it that has thus far actually been implemented. You currently can’t see the big picture. This exhibition was

wanted in time for last year’s Maritime Festival and so it was needed in a hurry. The curator put the photographic material together and there are plans to replace it with a new theme associated with the harbour or maritime affairs, or why not some other topic if the city comes up with a better idea. Or we could propose the idea to consulates here in Tallinn – the number of stands matches – to hold a festival celebrating Europe, for instance. What was the original task from the customer? Galina Burnakova (GB): Mobility above all. If necessary, it can be moved by forklift to some other terminal. The “fork” fits under it exactly. That’s the whole point. GS: And then, of course, it’s vandalism-proof, and autumn wind-proof. From here, we developed the idea of the frame, so that the picture would remain hanging well and airily, and that the sail effect would be avoided. The other idea was that it would also work without pictures as an independent double-faced installation. It creates perspective. The metal is thick and fills a distinct volume. The idea developed from the thick metal of ship’s hulls, the way it is painted – a bright red tone – all those buoys, bollards and edges of the quay. GB: Not directly nevertheless, not kitsch. GS: The concrete element was poured for this purpose. The entire implementation is very good. This exhibition is location specific. How did relating to the city and the sea take place? What were your first emotions? GB: The quay was long and narrow. People stroll here like on a promenade. But this is so that they wouldn’t simply stroll through but rather so that they would stop for a moment and observe something exciting and new. GS: This is the most active environment along the Admiralty Basin in the summer. The City Marina restaurant as well, of course. This is a tourist area. Do city residents ever end up here? GS: When buildings finally start being erected on the surrounding vacant land, then a whole will start to be formed. Currently there’s nowhere to go from there, there is no large centre of attraction. Was there anything different about this project? GS: This is the theme of a small object. I feel somewhat uncertain when working on very large objects, where you tend to lose control over details. GB: You are a classical architect like Corbu was. You design a building and everything right down to the door handles. For me, design is design. It’s right in the environment. I’ve hung out there quite a bit. Back then there wasn’t much to do here. You come here on your bike, eat your sandwich and…Conceptually, our idea was to bring people to the seaside. All designers and events like Lift 11 have referred to that. There has to be some kind of reason for going to the seaside, city residents don’t need much prodding.

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Simple, universal form, attractive construction logic and practical implementation were the reasons why the jury decided to recognise the outdoor exhibition production design with an award. Tea Tammelaan, interior architect and member of the ESL annual awards jury

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Kairit Sõlg on magistrant Aalto Ülikoolis, kellele pakub huvi strateegiline disain ja lühiajalised sekkumised avalikus ruumis. Praegu on Aalto ARTS Node galerii disainer. Eelnevalt on õppinud Eesti Kunstiakadeemias sisearhitektuuri. Mari Sollman on Aalto Ülikooli sisearhitektuuri magistrant. Hetkel õpib Taani Kuninglikus Kunstiakadeemias jätkusuutlikkusele spetsialiseerunud arhitektuuriosakonnas. Varasemate tööde hulgast võib leida enamasti toiduga seonduvaid avalike ruumide kujundusprojekte. Kairit Sõlg is a master’s student at Aalto University who is interested in strategic design and short-term interventions in public space. She is currently the designer of the Aalto ARTS Node Gallery. She has previously studied interior architecture at the Estonian Academy of Arts. Mari Sollman is a master’s student in interior architecture at Aalto University. She is currently studying sustainability at the Royal Danish Academy of Art Department of Architecture. Projects related to food in the design of public space are mostly found among her earlier works. www.popupwrapup.tumblr.com

mööbliese PopUp WrapUp

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Kairit Sõlg, Mari Sollman Verhoiluliike Halonen

fotod/photos:

Kairit Sõlg, Mari Sollman

popup wrapup

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Kuna iste on mõeldud avalikku ruumi, siis küsitav on, kuidas intiimseid hetki pakkuda üritav minikookon ja teinekord pisut määrdunud käed-jalad reaalsuses hakkama saavad. Alateadvus võib olla kasutamise suurim takistus ja võõrast ikka põhjamaine loomus endale liiga lähedale ei luba. PopUp WrapUp intrigeerib, paneb kaasa mõtlema. Et saavutada privaatset hetke, tuleb teatud hirmud ja eelarvamused endas lihtsalt ületada. Kaido Kivi, sisearhitekt ja ESLi aastapreemiate žürii esimees

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Räägi inimestega – see on juhtlõng, mis aitab erinevaid otsi kokku sõlmida. Telefonitoru järele haaramine eeldab hetkelise iseolemise aega ja kohta. Funktsionaalse lahenduse otsingud tänapäevasel „pesa punumisel” on tervitatav teemaarendus. Mis on selle mööblieseme tekkelugu ja kuidas see alguse sai? Mari Sollman (MS): Mööbel sai loodud Habitare 2012 Ahead!-disainikonkursi finaali jaoks, mille teema oli Oma Ruum. Lähteülesanne oli luua kompaktne lahendus avalikku ruumi – koht, kus mediteerida, end laadida või kuhu eralduda telefonikõneks. Testides võimalikke ideid, mis oleks avalikku ruumi sobivad, jõudsime iseseisva mööblitükini. Milline on mööblieseme ja ruumi omavaheline suhe? Kairit Sõlg (KS): Kuna lähteülesanne nägi kohana avalikku ruumi, siis seda situatsiooni lahendasimegi. PopUp WrapUp on juba loomu poolest seotud sellega, mis toimub ümberringi, kuna kasutajal on võimalik ennast sellega ümbritsevast eraldada. Oleme mõelnud eelkõige kohale, kus inimene vajab aega lühiajaliselt omaette olemiseks: näiteks avatud planeeringuga kontor, raamatukogu, lennujaam, et võtta privaatselt helistamiseks minut või lõõgastumiseks veerandtund – ruum ruumis.   Kuidas arenes välja kontseptsioon ja mis seda inspireeris? MS: Impulsiks olid avalikus ruumis puuduvad seda tüüpi lahendused. Mööbli välimus ja funktsioon kujunesid välja katsetades. Oluline oli pakkuda mängulist kogemust: disainida tool, mida saaks vastavalt istuja vajadusele muuta, et ennast täielikult peita või piilumiseks avada. KS: Töö käigus oli inspireerivaks miinimumi testimine ehk see, kuidas luua optimaalselt mugav pesa inimesele.
 Kõigele lisaks täidab see suurepäraselt traditsioonilise tugitooli funktsiooni. Mille poolest on see töö on olnud teie jaoks oluline või teistmoodi võrreldes varasema kogemusega?                                                            KS: Kogu protsess andis pehmemööbli disainimise kogemuse, millega me kumbki polnud varem kokku puutunud. Katsumuseks, mille ületasime, oli ka ülimalt piiratud aeg. MS: Alustasime väga ruttu 1:1 mockup`i testimist, mis edendas me tööprotsessi. Kuna tegemist oli materjalide ja lahenduste katsetamisega, siis paljusid detaile ei osanud ette näha ja need vajavad edasiarendamist.   Kuidas inimesed selle vastu on võtnud?                                 KS: Senine tagasiside on olnud positiivne. Testijate nägudel oleme näinud elevust ja naerusuid. Huvitatuid on nii erialainimeste kui ka mitte-professionaalide seas.   Kas miski on läinud teisiti, kui algselt plaanitud? MS: Kuna algselt ei olnud meil ambitsiooni otseselt tooteni välja jõuda, siis tulemusi ja tagasisidet arvestades oleme tänaseks huvitatud oma idee realiseerimisest.

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Talk to people – that is the common thread that helps to tie different strands together. Grabbing the telephone receiver implies a place and a moment of time to be on one’s own. The quest for functional solutions for “feathering one’s nest” nowadays is a welcome development of the theme. How did this piece of furniture come about and where did it start? Mari Sollman (MS): The furniture was created for the finale of the Habitare 2012 Ahead! design competition, the theme of which was One’s Own Space. The original task was to create a compact solution for public space – a place for meditation where one could figuratively speaking charge one’s batteries or where one can retreat for a telephone call. Through testing possible ideas that would be suitable for public space, we arrived at a separate piece of furniture. What is the relation between this piece of furniture and the space around it? KS: Since the original task specified public space as the location, that is the situation we worked with. PopUp WrapUp is by its nature already associated with what is happening around us since the user can withdraw from the surroundings with it. We were primarily thinking of a place where people need a short time to be on their own: for instance, in open plan offices, libraries, airports, to take a minute for making a private call or for relaxing for fifteen minutes – space within space. What inspired you, how did your concept develop? MS: The impulse was the lack of this kind of solution in public space. The appearance and function of the furniture developed through experimentation. It was important to provide a playful experience: to design a chair that can be altered according to the needs of the person sitting on it, to completely hide oneself or to open it up for peeking. KS: Testing the minimum was inspiring in the course of the work, in other words how to create an optimally comfortable nest for people. On top of it all, it superbly fulfils the function of the traditional armchair. The entire process provided experience in designing upholstered furniture, which neither of us had previously dealt with. An extremely tight time frame was an ordeal that we overcame. MS: We very quickly began testing a 1:1 mock-up, which carried our working process forward. Since this was experimentation with materials and solutions, we did not foresee many details and they need further development. Has anything gone differently than you originally planned? MS: Since we initially did not have the ambition to immediately reach the finished product stage, then considering the results and the feedback we have received, we are by now interested in the implementation of our idea. KS: Feedback has been positive thus far. We have seen exhilaration and smiling faces from our testers. Both professionals and non-professionals are interested.

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Since the seat is meant for public space, it is questionable how a mini-cocoon attempting to provide intimate moments and sometimes somewhat soiled hands and feet will manage in reality. The subconscious may be the greatest obstacle preventing its use and the Nordic disposition nevertheless does not allow strangers to get too close. PopUp WrapUp is intriguing and makes one think along these lines. In order to achieve a private moment, one must simply overcome certain fears and prejudices within oneself. Kaido Kivi, interior architect and chairman of the jury

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Kard Männil ja Loreida Hein on alustanud peale Eesti Kunstiakadeemia sisearhitektuuri kateedri lõpetamist oma sisearhitektuuri-stuudiotega, teinud koostööd teiste disaineritega paljude projektide raames. Nad on loonud mitmeid era- ja avalikke interjööre koos erimööbliga, teostanud käsitsi suuremõõdulist seinagraafikat. Mõlemad on olnud ka sisustussaate juhid. Timo Subbi on õppinud ehitusinseneriks ning arhitektiks, tegelnud ka ettevõtluse ja loometööga disaini valdkonnas. Kard Männil and Loreida Hein have started up their own interior architecture studios after graduating from the Estonian Academy of Arts Department of Interior Architecture and Furniture Design. They have worked together with other designers within the framework of numerous projects. They have created several private and public interiors with custom designed furniture and created large-scale wall graphics by hand. They have both also been the hosts of a programme on furnishings. Timo Subbi has studied engineering and architecture. He has also worked in enterprise and creative work in the field of design. www.less-furniture.com

moodulmööbli süsteem L.e.s.s.

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Loreida Hein, Kard Männil, Timo Subbi (L.e.s.s.) Kaido Haagen

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Tahtsime koju kummutit, mis ei oleks päris valmis, lõpuni komponeeritud, ära kujundatud. Mitte valmis seisukohavõttu, vaid natuke juhuslikku teelolemist, mis samas näeks hea välja. Loreida/Kardi/Timo mööbel on just selline, liigsest ambitsioonikusest hoiduv, ent iseteadlik ja elegantne. Karli Luik, arhitekt

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Et paigal püsida, tuleb kõigest väest joosta. Elu kiire muutumine ja sellega kohanemine on päevakohane teema ka mööblimaailmas. Kas kõike on juba põhimõtteliselt tehtud – või mida vajab 21. sajandi nomaad? Mis on selle mööbliseeria tekkelugu, kuidas see kõik alguse sai? Kard Männil (KM): Elu muutub järjest mobiilsemaks ja inimeste elud üha dünaamilisemaks, aga interjöörid on oma olemuselt endiselt staatilised. Meie mööbli idee sai alguse meie endi vajadusest liikuva mööbli järele, mis oleks võimeline omanikuga kaasa muutuma, nn smart office, mida saaks kiirelt ja mugavalt teise kohta kolida. Loreida Hein (LH): Unistus asjast, mis on kohandatav, kui tahad kuhugi mujale minna, midagi teistsugust, et siis ei pea uut muretsema, vaid saad sama asja ümber mängida. KM: 30aastane inimene Pariisis on vähemalt 10 korda kolinud. Kõik need üürikorterid on sellised, kus on vaid kraanikauss ja mitte midagi muud, kööki ka. Tee, mis tahad, kui ära lähed, peab samamoodi jääma. Mina olen elus palju pidanud kolima ja see on keeruline, lõputu kastide tellimine ja pakkimine. Samuti ka siis, kui alustad uut firmat, alguses on ühed vajadused, homme juba järgmised, elu võiks kuidagi lihtsam olla. Mis on algselt inspireerinud, kui mingeid piiranguid ees ei olnud? KM: Et süsteemi algidee hakkas idanema mu arhitektist venna Timo peas, on ka lõpplahenduses tunda arhitektuurset lähenemist. Mööbli konstruktsioon on jäik, tugev, pulkadeks lahtivõetav, ja kui midagi läheb katki, saab ühe osa ümber vahetada. Kasutusaeg ongi kõige suurem ökoloogiline aspekt. LH: Praktiline vajadus ongi meid inspireerinud... Elanik-

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kond vananeb ja keegi ei taha tunnistada, et on asju, mida ta enam üksinda teha ei jaksa. Aga selle mööbli nihutamisega saab ise hakkama küll. Milline on selle mööbli suhe ruumiga – kas see eeldab mingit kindlat ruumi? KM: Oleme püüdnud välimust neutraalse hoida, et see oleks pigem nagu ehitusklots, mida saab muuta eri värvi detaile valides. Nii et see on suhteliselt anonüümne, et sobituks ükskõik millise ruumiga. See on nagu lego-süsteem. Kuidas edasi, kas plaanite oma mööbliga ka messile jõuda? LH: Messile ei saa enne minna, kui patenditaotlused sisse antud. Kopeerimise eest ei pruugi patent täit kaitset anda ning liiga vara välja tulles kaotaksime oma edumaa selles võidujooksus. Aga mine tea, äkki järgmisel aastal. KM: Oleme käinud vaatamas, kuhu maailm suundub. Milano messil oli üldine suund home office, inimesed töötavad reaalselt kolm-neli päeva nädalas kodus. Arendame tootmist ise, see on lõputu protsess, et leida õiged materjalid. Hetkel juurutame küljedetailideks Koskineni tehases toonitud ja kuumtöödeldud vineeri, mis ei vaja täiendavat kaitsekihti laki näol. Nüüd oleme jõudnud brändingu etappi. Alustasime Out of Box nime all, nüüd, kus mööbel ekspordiks valmis, on meil ka uus nimi l.e.s.s. – furniture redefined. Tänu Ajujahi konkursile, kuhu me läksime ideega ja lõpetasime prototüübiga, on meil üsna arvestatavad mentorid. Edasi sattusime huvitavatesse koolitusprogrammidesse, nagu näiteks Start Smart. Mööblisüsteemi väljaarendamiseks oleme toetust ja abi saanud nii EASi innoosakute näol kui ka ESList ja sisearhitektuuri kateedrist. Täname!

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One must run with all one’s might just to stand still. Rapid changes in lifestyle and adaptation to those changes are topics of current interest in the world of furniture as well. Has basically everything already been done – or what does a 21st century nomad need? How did this furniture line come about and where did it all start? Kard Männil (KM): Life is becoming more and more mobile and people’s lives are becoming ever more dynamic, but interiors remain essentially static. Our furniture idea originated from our own needs for moveable furniture that could change along with its owner, a socalled smart office that could quickly and conveniently be moved to a different location. Loreida Hein (LH): The dream of something adjustable when you want to go somewhere else, something different, so you don’t have to get a new one. Instead, you can revamp the same thing. KM: A 30-year-old in Paris has moved at least 10 times. All those rental flats are the kind where there is only a washbasin and nothing else, not even a kitchen. Whatever you do, when you move out, it has to be left the same way. I’ve had to move many times in my life and it’s complicated, an endless ordering of boxes and packing. It’s the same thing when you start up a new company. First there are certain needs, and tomorrow there are different needs. Life could somehow be simpler.

KM: We’ve gone to have a look at where the world is headed. The general trend at the Milan fair was the home office. People actually work at home three to four days a week. We develop production ourselves. It’s an endless process to find the right materials. We’re currently introducing plywood stained and heat treated at the Koskinen factory as side details that do not require an additional protective coating in the form of lacquer. Now we’ve reached the branding stage. We started out under the name Out of Box. Now that the furniture is ready for export, we also have a new name, l.e.s.s. – furniture redefined. Thanks to the Ajujaht (Chase) competition, where we went with an idea and finished with a prototype, we have mentors to be reckoned with. Since then we ended up in interesting training programmes like, for instance, Start Smart. We have received support and assistance for developing our furniture system from both Enterprise Estonia (EAS) innovation stakes as well as from the Estonian Association of Interior Architects (ESL) and the Estonian Academy of Arts Department of Interior Architecture and Furniture Design. Thank you!

What initially inspired you if you had no restrictions? KM: Since the system’s original idea started germinating in the head of my architect brother Timo, an architectural approach can also be sensed in the final result. The structure of the furniture is rigid, strong and can be disassembled, and if something breaks, one part can be replaced. The duration of usage is the most important ecological aspect. LH: Practical need is what inspired us…The population is aging and nobody wants to admit that there are things that he no longer can manage to do alone. But people can move this furniture around by themselves. What is the relation between this furniture and the room it is in – does it require any particular kind of room? KM: We have tried to keep its appearance neutral so that it would be more like a building block that can be changed by choosing details of different colours. So it is relatively anonymous so that it could fit in with any kind of room. It’s like a Lego system. What is next, are you planning to make it to the furniture fair with your furniture? LH: We can’t take our product to the fair before the patent applications have been submitted. A patent will not necessarily completely protect you against copying and if we come out with our idea too soon, we would lose our head start in this race. But you never know, maybe next year.

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We wanted a dresser for our home that isn’t quite finished, completely composed and designed. Not a ready-made attitude but rather a somewhat random condition of being on the way, which would look good at the same time. Loreida’s/Kard’s/ Timo’s furniture is exactly that kind, avoiding excessive ambitiousness, yet self-assertive and elegant. Karli Luik, architect

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Anu Vainomäe on lõpetanud Eesti Kunstiakadeemia sisearhitektina. Välisministeeriumis töötades valmisid Eesti Vabariigi suursaatkondade ja esinduste kujundused Tel-Avivis, Pariisis, Ankaras, Brüsselis, Prahas, Budapestis, Haagis. On esinenud näitustel ja messidel, teinud tootedisaini firmadele Hapval ja NCS Möbler AB. Tänaseks peab oma sisearhitektibürood. Anu Vainomäe has graduated with honours from the Estonian Academy of Arts as an interior architect. While working for the Ministry of Foreign Affairs, she completed the designs for embassies and diplomatic missions of the Republic of Estonia in Tel-Aviv, Paris, Ankara, Brussels, Prague, Budapest and The Hague. She has participated in exhibitions and fairs, and designed products for the companies Hapval and NCS Möbler AB. Nowadays she runs her own interior architecture bureau. www.muruum.ee

laste- ja noortemööbel Muruum

Muruum furniture for children and young people

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autor/author:

Anu Vainomäe

fotod/photos:

Sille Parik

muruum

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Lastele ja noortele suunatud mööbli teema on Eesti disainis viimastel aastatel tihti käsitlemist leidnud: Sixten Heidmets ja Sirli Põllumäe, Igor Volkov, Pavel Sidorenko. Kõigile neile on vineer südamelähedane materjal. Muruumi sari on selles võrdluses asjalik, rahulik, kindlapeale toimiv. Võib-olla isegi liiga „tavaline”. Katse selles vallas maailma parandada on teretulnud. Oma isikupära juurde lisades õnnestub ilmselt mööbel tõeliselt „kodustada”. Kaido Kivi, sisearhitekt ja ESLi aastapreemiate žürii esimees

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Mööbli disain ja tootmine on kaks eri asja, siinkohal on need aga sujuvalt üheks saanud. Tegu on välisturgudele laieneva uudse kaubamärgiga, mis on fokusseerinud oma tegevuse kõige noorematele. Huvitav, kas 21. sajandil on laps võrreldes möödanikuga oma soovide ja vajaduste poolest erinev? Mis on selle mööbliseeria tekkelugu ja kuidas see kõik alguse sai? Anu Vainomäe (AV): Muruum sündis, sest Eesti turul puudus arvestatav lastemööbel. Pakuti vaid männipuust pisikest ja pikendatavat, laminaadist roosat või helesinist mööblit, mis ei sobi tänapäevase arhitektuuriga. Koos Sille Parikuga, selle töö tellijaga, kellele olin varem sisekujunduslahenduse teinud, hakkasime ideed teoks tegema. Tänaseks on kogu seeria tootmises ning jõuab tellijateni nelja nädalaga. Seadsid ise endale lähteülesande. AV: See mööbel siin, kus on kapid ja lauad ja lisandid, peaks moodustama terviku, mis on loodussõbralik, lihtsalt muudetav, pikaealine ning väga hea kvaliteediga, mõnus käe all katsuda. Lapse kasvades saab detaile lisades, eemaldades ja vahetades mööblit lapse vajadustega sobitada ning ühest legendist saab teise, teisest kolmanda... Vaheta tekstiile ja sul on uus elu! Olles ülikoolini välja jõudnud, saab omad lapsed sinna askeldama panna, näiteks. Vineeriga ei juhtu midagi, see on mõnes mõttes ajatu. Mis sind inspireeris, kui mingeid piire ees ei olnud? AV: Kaske olen ma armastanud, ilmselt on eestlased

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seda üldse armastanud. See on vastupidav ja vineer on alati väga inspireeriv, minu jaoks vähemalt. Kasevineeril on tohutult eri ilmeid, kasutades erinevaid peitsitoone, loome lahendusi nii poistele kui tüdrukutele, nii romantilisema kui modernistlikuma joonega. Milline on ruumi ja mööbli omavaheline suhe – kui suur peaks lapse tuba olema? AV: Eramus on rohkem ruumi, aga see mööbel sobib hästi ka mõnikümmend aastat tagasi valminud lastetuppa. Tegelikult võiks tuba suurem olla, kui nad projektides tavaliselt on, taandatuna 10-11 ruutmeetri peale. Mida suurem tuba, seda vahvam, sest lastele meeldib koos mängida. Laps vajab ruumi ka omaette olemiseks. Meie nari võimaldab seda vaatamata ruumikitsikusele. Kas hinna ja kvaliteedi suhe on ka Eesti inimesele vastuvõetav? AV: Meie lahendus on säästlik ja kestab vaid tekstiile vahetades lapseeast täiseani – see on ühekordne investeering. Lastelgi peaks olema korralik ümbrus, kui ehitatakse endale korralikku kodu. Kui vaadata neid mudeleid, siis ega 21. sajandi laps väga teistmoodi ei ole? AV: Tänapäeva lapsed on küll allergilisemad, aga mängitakse ikka täpselt samamoodi – minu lapsed tahtsid ikka oma pesa, ehitada telke ja urge või mängida nukuteatrit.

Ruumipilt 2012


The theme of furniture for children and young people has been considered often in Estonian design in recent years: Sixten Heidmets and Sirli Põllumäe, Igor Volkov, Pavel Sidorenko. Plywood is a material that they all cherish. The MURUUM line is practical, mellow and reliably functional in this comparison. Perhaps it is even too “ordinary”. Attempts to reform the world in this field are welcome. This furniture really can probably be successfully “domesticated” by adding one’s own personal touch. Kaido Kivi, interior architect and chairman of the ESL annual awards jury

Furniture design and production are two different things, yet here they are smoothly combined into one. This is a novel trademark that is expanding into foreign markets and focuses on products for young children. I wonder, are children in the 21st century with their wants and needs any different compared to the past? How did this furniture line come about and where did it all start? Anu Vainomäe (AV): MURUUM was born because the Estonian market lacked quality children’s furniture. The market offered only tiny and extendable pinewood furniture, and pink or light blue laminated furniture that doesn’t suit today’s architecture. We started putting our ideas in practice together with Sille Parik, the customer for this furniture for whom I had previously designed interiors. The entire line is in production by now and reaches the customer in four weeks. You set your initial task yourself. AV: This furniture here with cupboards, tables and accessories should form a whole that is ecological, durable, high quality, and can be easily converted. It’s pleasant to touch. The furniture can be adjusted to the child’s needs as he grows by adding, removing and replacing details. One legend turns into a second, the second turns into a third…Replace the textiles and you have a new life! When you reach university, you can let your own children bustle about there, for instance. Nothing happens to plywood, it’s timeless in a sense.

whole have probably loved it. It’s durable and plywood is always very inspiring, at least for me. Birch plywood has vastly differing appearances. We create products for boys and girls using different tones of stain for more romantic or more modern styles. What is the relation between the furniture and the room it is in – how large should the child’s room be? AV: There is more space in a private dwelling but this furniture is also well suited for children’s rooms completed a couple of decades ago. The room should actually be bigger than they usually are in design projects, reduced to 10-11 square metres. The larger the room, the better because children like to play together. Children need room to be on their own. Our bunk bed makes this possible regardless of lack of space. Is the ratio between price and quality acceptable for Estonians as well? AV: Our furniture is economical and lasts from childhood to adulthood with only the need to replace the textiles – this is a one-time investment. Children should have proper surroundings when people build proper homes for themselves. If you look at these models, it doesn’t appear as if 21st century children are much different? AV: Today’s children are more allergic but they still play exactly the same way – my children still wanted their own nest, to build tents and burrows, or to play puppet theatre.

What inspired you if you had no restrictions? AV: I have always loved birch wood. Estonians on the

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Monika Järg ja tema stuudio Tekstiil Ruumis mõtleb välja ja valmistab sisustustekstiile. Inimsõbralikke ja kauakestvaid. Kasutab selleks naturaalseid materjale ning väärikaid tehnoloogiaid. Lisab tekstiilile ruumilise mõõtme, funktsiooni ja materjalikasutuse kaudu. Väärtustab disaini, mis liidab vajadused, funktsionaalsuse ja esteetika. On lihtsalt eriline. Monika Järg and her studio Tekstiil Ruumis devise and prepare textiles for interior design. People-friendly and durable. They use natural materials and honourable technologies. They add a spatial dimension to textiles through their function and use of material. They appreciate design that combines needs, functionality and aesthetics. It is simply exceptional. www.tekstiilruumis.ee

vaibaseeriaD Pohl; Pohl.Betoon

CARPET LINES COWBERRY; COWBERRY.CONCRETE

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autor/author:

Monika Järg (Tekstiil Ruumis)

fotod/photos:

Juta Kübarsepp

pohl; pohl.betoon

Ruumipilt 2012


Lihtne, vaimustav ja vaimukas, kerge paberlennukina unelmate, tootedisaini, ruumikujunduse ja tekstiilikunsti piirimail hõljuv kollektsioon. Puudumas ainult veel see rahutukstegev „miski“. Tarmo Piirmets, sisearhitekt ja ESLi aastapreemiate žürii liige

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Ruumi ja tekstiili omavaheline suhe on võluv kooslus, üks ei saa ilma teiseta isegi siis, kui see alguses nii ei tundu. Tekstiilil on ainulaadne võime luua omanäolist atmosfääri, pehmendada helisid, olla lihtsalt mõnus. Kas kaasaegne inimene armastab seda pehmust ning väärtustab erakordsust, mis kaasneb autoritekstiili puudutusega? Räägime sinu tekstiilist. Kust see vaibaseeria alguse sai? Monika Järg (MJ): See sai alguse tellimusest, koostöös sisearhitektidega Jan ja Ken, kes tahtsid kujundatavasse kontoriruumi saada vaipa, mis pidi olema erikujuline. See tingis ka tehnoloogilise pöörde, ma ei saanud kasutada varasemat tehnikat. Valley vaibatehase tüüpstruktuuride baasil kujundasin oma struktuuri, kuhu tikkisin vahele suured roosad puumunad. Paigutus oli juhuslik – nagu oleks peoga visatud marju. See ei olnud edasiseks muidugi mõistlik tootmisviis. Kui sa oma faktuurseid vaipu teed, kas mõtled kohe konkreetsele ruumile või inimesele? MJ: Enamik tooteid on alguse saanud konkreetsest projektist, seega ruumist ja tellijast. Olen paljusid projekte võtnud kui katsetusi, kuhu aega on kulunud oluliselt enam kui planeeritud. Samal ajal olen saanud teha katsetusi ja kohe ka järeldusi, kas see on teema, millega on mõistlik edasi minna.

Mille poolest see vaibaseeria on teistsugune? MJ: Olen liikunud selles suunas, et mitte teha kõike käsitööna – see on aeganõudev, väga kallis ja seega nii vähestele kättesaadav. Disaini juures on ülioluline, et ta jõuaks inimesteni, tiraaž ei ole disainis põhiasi, kuid see peab olema korratav. Otsin koostööd teostaja võimalustega, et tulemus poleks kompromiss, aga leitaks see õige, et säiliks minu käekiri. Luua on väga inspireeriv ja teinekord isegi lihtne võrreldes sellega, mida toob kaasa müük. Kui oled õppinud loomingut, siis on raske ümber orienteeruda müügile, kuid ka vastupidi on võimatu. Kus saab näha sinu vaipu? MJ: Need on lihtsalt täiesti erinevad oskused. Seda ei õpigi, need on lihtsalt soodumused. Hindan väga kõrgelt inimesi, kes seda oskavad. Kalasadama galeriis on paratamatult veidi segane, seal on umbes 70 disaineri käekirjad. Pole ju seda ressurssi, et teeks päris oma vaibagalerii, muidugi see unistus jääb. Olen proovinud ka ekspordivõimalusi, katsetanud oma vaipadega Helsingis, Stockmannis. Sügisel käisin Habitarel, juhtisin kogu protsessi, tahtsin saada seda kogemust algusest lõpuni.

Kui töö saab alguse tellimusest, kellegi kodust näiteks – kuidas ruum sind kõnetab, milliseid raame ruum sinu jaoks seab? MJ: Olulisim on see, kuidas ruumi kasutatakse, tihti on aspekte, mida ei ole esmapilgul näha. Oleneb, kas see on era- või avalik ruum, see mõjutab materjalivalikut. Avaliku ruumi puhul võtan endale vabaduse palju julgemalt väljenduda, pakkuda erilahendusi, põhjendada neid ja kaitsta oma ideid. Erakliendi puhul arvestan tema maitset, sest ta ju peab seal elama. Kas inimesed armastavad värvi või pigem kardavad? Muhuvärvid siis ikkagi ei realiseeru? MJ: Vahel küll, kuid intensiivsed värvid on alati olnud pigem n-ö „pidupäeva rõivas“, eriliseks puhuks. Vaibaost on pikaajalisem investeering. Kuigi värvi võiks kasutada julgemalt, on keeruline elada näiteks punasega koos, siin tuleb mängu emotsionaalse turvalisuse aspekt. Mul on endal kärtspunast selles ruumis, kus ma iga päev ei viibi. Autoritöö tellimisel tahaks, et tekiks väikegi vau-efekt. Kas Eesti inimene on ikka ja alati pigem praktiline? MJ: Jah, seda võib ka nii öelda, kodus tahaks mina ise olla, et ei pea kellegagi konkureerima. Oled väga faktuurne, rõhud hoopis teistele aistingutele, nagu kompimine. MJ: Tekstiil on minu jaoks eelkõige materjal, pean sellest aru saama ka siis, kui ma seda ei näe, kui oleksin pime. Aga ma arvestan kõrgustega, et pind vajub, et oleks mugav.

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The relationship between space and textiles is a charming association. One cannot manage without the other even when it doesn’t seem so at first. Textiles have the unique capacity to create a distinct atmosphere, to soften sounds, to simply be pleasant. Do people nowadays like that softness and appreciate the extraordinariness that goes with the touch of designer textiles?

visible at first glance. It depends on whether it is a private or public room. That influences the choice of materials. In the case of public spaces, I allow myself the freedom to express myself much more boldly, to suggest specially designed solutions, to justify them and defend my ideas. In the case of private customers, I take their taste into account because they have to live there after all.

Let’s talk about your textiles. Where did this line of carpets start? Monika Järg (MJ): It started with a commission in cooperation with the interior architects Jan and Ken, who wanted a carpet of a particular shape for an office room that they were designing. This required a technological turn. I couldn’t use the usual techniques. I developed my own structure on the basis of the model structures of the Valley carpet factory. I embroidered large, pink, wooden eggs into the fabric. They were placed at random – as if they were berries tossed onto the carpet. This was not, of course, a rational means of manufacturing for future projects.

Do people love colour or are they afraid of it? The bright colours from Muhu folk costumes can’t really be used? MJ: Sometimes they can, but intense colours have always been “festive clothing”, so to speak, for special occasions. The purchase of a carpet is more of a long-term investment. Even though colour could be used more boldly, it isn’t so easy to live with red, for instance. The aspect of emotional security comes into play here. I have bright red in a room where I don’t go every day.

When you make your textural carpets, do you immediately think of a specific space or person? MJ: Most products began with a specific project, thus from a particular space and customer. I have approached many projects as experiments, which have taken up considerably more time than planned. At the same time, I have been able to conduct experiments and then immediately draw conclusions on whether this is a theme that makes sense to develop further. When a job starts with a commission, from someone’s home, for instance – how does the room speak to you, what sort of framework does the room determine for you? MJ: The most important point is how the room is going to be used. There are often aspects that are not

Simple, charming and witty, light, a collection that floats like a paper plane at the fringes of dreams, product design, spatial design and textile art. It lacks only that “something” that makes one restless. Tarmo Piirmets, interior architect and member of the ESL annual awards jury

Ruumipilt 2012

People want a wow effect when they order a designer item. Are Estonians still always more practical? MJ: Yes, you could say so. At home I’d like to be myself so that I don’t have to compete with anybody. You’re very textural. You stress altogether different sensations, like touching and feeling. MJ: Textile is material for me first and foremost. I have to understand it even if I can’t see it, even if I were blind. But I take heights into account so that the surface sinks, so that it would be comfortable. In what sense is this line of carpets different? MJ: I have gone in the direction that everything is not done by hand – that is time-consuming, very expensive and thus it is affordable for few people. It is extremely important that design should reach the people. The number of copies produced is not the main thing in design, but it must be repeatable. I’m seeking cooperation with a manufacturer so that the result would not be a compromise, rather that the right one would be found to preserve my style. Creation is very inspiring and sometimes even easy compared to what sales involves. When you have learned creative work, it’s difficult to reorient yourself to sales but the opposite is impossible. Where can your carpets be seen? MJ: They are simply completely different skills. You can’t learn it, they are simply dispositions. I greatly appreciate people who know how to do it. The situation is unavoidably somewhat confused at the Kalasadama Gallery since there are about 70 designer styles. I don’t have the resources to start up my own carpet gallery but that dream remains, of course. I have tried export opportunities and experimented with my own carpets in Helsinki, at Stockmann’s. I went to Habitare in the autumn. I ran the entire process, as I wanted that experience from beginning to end.

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Ivo Rannaste on erialaselt väga motiveeritud magistrant, kes teab, et paremate tulemuste saavutamiseks tuleb tublisti pingutada ja õppida. Oma tarmukust ja sihikindlust on ta üles näidanud nii teatrisaali, Energiamuuseumi Avastuskeskuse projektides kui ka Simo Heikkilä istemööbli meistriklassis. Toivo Raidmets, EKA professor, sisearhitektuuri ja mööblidisaini osakonna juhataja

Ivo Rannaste is a master’s student who is professionally very motivated, who knows that one must strive hard and study in order to achieve better results. He has demonstrated his vigour and strength of purpose in the theatre hall and Energy Museum Discovery Centre projects as well as in Simo Heikkilä’s seating furniture master class. Toivo Raidmets, Professor at the Estonian Academy of Arts, Head of the Department of Interior Architecture and Furniture Design

tudengipreemia 2012 student award 2012

Ivo Rannaste on EKA sisearhitektuuri ja mööblidisaini üliõpilane, kes on eelnevalt õppinud ka ärijuhtimist EBSs ja sisekujundust Euroülikoolis. Igapäevaselt teostab end ühiskondlike ruumide projekteerimisega. Oma lõbuks eksperimenteerib valguse ja valgustitega. Ivo Rannaste is an interior architecture and furniture design student at the Estonian Academy of Arts who has previously also studied business administration at the Estonian Business School and interior design at the Euroacademy. His everyday work is the design of public rooms. In his spare time, he experiments with light and lighting sources. www.inroom.ee


ivo rannaste


reklaam


reklaam


Profile for Eesti Sisearhitektide Liit

Ruumipilt 2012  

Valik Eesti Sisearhitektide Liidu 2012. aastal realiseerunud projektidest on kaante vahel, mis annab hea ülevaate professionaalsetest töödes...

Ruumipilt 2012  

Valik Eesti Sisearhitektide Liidu 2012. aastal realiseerunud projektidest on kaante vahel, mis annab hea ülevaate professionaalsetest töödes...

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