Where is the line between genuine development and pointless construction? How to use concrete reasonably rather than wastefully? In what form should concrete figure in contemporary architecture?
In 2016, a group of women moved into a building in the borough of Barnet on the outskirts of London—a building that had been developed and built in collaboration with them and specially for them. Thus culminated a process that had begun in 1998, when some of these women founded the Older Women’s Co-Housing (OWCH) group.
The aging population requires nothing less than a radical retooling of the territory, with architects and urban planners at the forefront of this transformation.
But how do these pillars grow anyway? Where should you move the sum that you have collected so that it could at the very least keep up with the inflation? And what role are these savings of mine currently playing in world affairs?
On the backdrop of successful energy efficiency renovations, one can also notice two worrying trends—residents moving out either due to a lack of renovation, or due to renovation.
In talking to Rein Einasto, interdisciplinarity shows itself to be something more than calculated collaboration between experts of different fields. It has a cultural rather than project-based meaning, consisting of commonly shared social responsibility, making sense of collective action, or, to use Einasto’s own expression, being in a common spirit.
When I heard the news that there is now a lift in St. Nicholas’ (Niguliste) Church, I immediately thought of the famous Santa Justa Lift in Lisbon, designed by Raoul Mesnier du Ponsard, a student of Gustave Eiffel. On second thought, the type of lift in St. Nicholas’ is a bit different, of course, for the Santa Justa Lift connects two levels of a city built on seven hills while also functioning as a viewing platform and tourist attraction. Something similar to the latter was planned in Tallinn for the area between the so-called Roe Deer Park on Nunne Street and Toompea viewing platform by architect Herbert Johanson in 1935. Likewise, there were attempts—already in the 1920s, then in the 1950s, and for the third time in the 1990s—to draw up a lift (more specifically, a chair lift) for the Patkuli stairway zone. And yet, still no chair lift!
Mustjala care home and day centre was meant to be a pilot project for a standard design in Saaremaa. There is a shortage of care home places and the same kind of building was planned right away for Leisi too. While initially it was feared that life in such a care home would be too expensive, today we see that monthly bills for the residents do not exceed 300 euros.
‘… when humanists accuse people of “treating humans like objects”, they are thoroughly unaware that they are treating objects unfairly.’ Bruno Latour
The term ‘accessibility’ marks everyone’s involvement in the living and informational environment, regardless of their age or health, by ensuring equal opportunities for everyone’s participation in the society. The topic is increasingly discussed both on the national and municipal level, and work to improve accessibility is also ongoing in cultural institutions, including museums, which this article will be focusing on.
In the end of April, I was contacted by an old acquaintance who usually shops at Szolnok supermarket. According to his description of the situation, all the cashiers had been laid off and you can now pay only at self-checkouts. Since Rimi also saves on having a consultant or helper present, many older people feel extremely uncomfortable, not to say humiliated.
Jakob D’herde explores homemaking in one’s later life by drawing upon the findings of his socio-spatial doctoral research project ‘Living (at) Home: On Older People’s Making of Home and Dignity’. He argues that homemaking is a continuous negotiation process between a dwelling and a person’s image of home. When this negotiation is successful, the home and dwelling can be conflated into what he calls the househome.
Editors' choice
What kind of relationship between a space and its surroundings would help to avoid the objectification of space—i.e., treating buildings or areas as sculptures or fully controllable objects?
Paide State Secondary School is an excellent example of the mutually complementary dialogue between a historical space and contemporary architecture.
Little was built following the re-establishment of Estonian independence in the early 1990s, however, the debates held and practices established largely came to set the foundations for the dominant issues in the architectural field in the past decades.
What kind of relationship between a space and its surroundings would help to avoid the objectification of space—i.e., treating buildings or areas as sculptures or fully controllable objects?
Most read
The translation of human thinking and machine thinking in architectural design is ambiguous, their mediation requires the architect to ask the questions “How come?” and “What for?” over and over again in the process.
There is no way to describe the current state of Latvian architecture without at least mentioning the so-called “large cultural buildings”. During the last decade, these have been the words constantly repeated by ministers, city mayors, directors of cultural institutions, and the media.
Connection, attachment, homeliness—all of it belongs to being human and takes root even in those who do not dwell in an idyllic and exuberantly harmonic Arcadian pastoral.
This issue of Maja is dedicated to the 30th anniversary of the Estonian Association of Interior Architects.
Smart cities are not merely for people and robots. Due to climate change and biodiversity decline, the combination of the physical and the digital is increasingly related to the needs of all species. Combining the natural and built worlds can be assisted by biotechnology, for instance, the use of bioreactors as a source of energy and by the smart application of landscape data in urban design, for instance, by means of biodigital twins or augmented reality. It shifts our perspective and poses the most critical and intriguing challenge of a smart living environment—how to adopt a life-centred rather than human-centred approach.
The seventh Oslo Architecture Triennale, themed ‘ENOUGH – Architecture of Degrowth’, took place in the autumn of 2019. It was curated by Maria Smith, Matthew Dalziel, Phineas Harper and Cecile Sachs Olsen from the transdisciplinary architecture and engineering practice Interrobang. The triennale focused on architecture that stems from reflecting on social relations rather than the pursuit of profit.
The monument dedicated to Lydia Koidula and Johann Voldemar Jannsen near the Arch Bridge in Tartu may be discussed primarily in two respects – in terms of sculptures and landscape architecture. The memorial square strives for the human-scale but how successful is it?
The translation of human thinking and machine thinking in architectural design is ambiguous, their mediation requires the architect to ask the questions “How come?” and “What for?” over and over again in the process.
