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?
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Which building or architectural project has seemed the most enigmatic to you? In this way, remained somewhat inexplicable, yet spoken to you through time? What is it about a building that enables us to say, “Architecture is an art of space“?
There are tumultuous times in the seafront development in Tallinn with variously motivated changes. This is the moment when architectural institutions must perceive their sense of responsibility and contribute to the big picture with their expert knowledge.
Each public competition and design carries in itself both potential and responsibility to make a contribution to the spatial environment surrounding the building.
Rather than exhibiting objects and asking questions, the contemporary museum has become a place for experiences requiring submission to the logic of storytelling. Triin Ojari considers how the reconstructed Narva Castle relates to history and providing experiences.
Balta is a hybrid of a silk screen printshop and a bar for close friends. Its spatial use and construction logic is closely tied to its founders and changing needs: it is a place whose structure is a co-creation of the entire community. To best describe the project architecturally, it is reasonable to regard the establishment as a flow; an accumulation and recycling of materials. Such a dispersion of authorship and, above all, a material-based point of view is rather a matter of spatial aesthetics, one that provides a visible, perceptible experience of sensuosness and physicality. How is a community bound to its space?
Discussions about how to plan a good city and what kind of buildings to construct are becoming increasingly relevant as mankind has reached a fundamental milestone: the majority of the society lives in cities. At the time of climate change, the issue of a sustainable city is more pressing than ever before also in Estonia, where motorisation is fast and local centres are subjected to urban sprawl. In this context, it is worth recalling the ideological principles of two urban design theories – New Urbanism and Landscape Urbanism – in order to set goals for the kind of space we want to move towards and the pitfalls to avoid on the way.
Space Popular is a multidisciplinary design and research practice led by Lara Lesmes & Fredrik Hellberg. They make physical spaces — buildings, interiors, furnishings — and virtual spaces, concentrating on how the two will be fused in the future. Their augmented virtual reality project “The Venn Room” was on display at the Tallinn Architecture Biennial main exhibition.
Which building or architectural project has seemed the most enigmatic to you? In this way, remained somewhat inexplicable, yet spoken to you through time? What is it about a building that enables us to say, “Architecture is an art of space“?
