kaire, Author at MAJA - Page 28 of 38

Fotografiska in Tallinn

In the building reconstructed by Salto, the space definitely does not compete with the content as it tends to happen in the exhibition venues built during the so-called museum boom in the 1990s, such as Frank Gehry’s Bilbao Guggenheim art museum. The adjustments here are highly refined and tasteful. It might be even said that a little boring, surprisingly neutral for Salto’s work. The red building is still red with the characteristic red brick kind of retained but in an ornately polished way.

Imavere Rapeseed Oil Factory—Things that matter

Here in front of us is according to the plan “a simple and practical” factory building1 and we are chatting with the designer: “The architect has nothing much to do in designing a rapeseed dryer and storage depot. The engineers prepare the main drawings. For the rapeseed processing factory building, the architect only had to conceive the walls around it. The entire complex can be controlled also from a mobile phone.”

From A Funeral Home to A Ritual Building

Rannamõisa funeral home has taken a highly interesting path since its opening. Namely, the opening of the building was accompanied by a change of identity. Was the change of identity brought about by the author through the architecture or the client through the functions of the building? What does this say about our culture of death and the development of the respective architecture?

Who Made This?

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?

Acknowledging unnoticed architecture. The foundation of the Kreisi family

The foundation of the Kreis family is the first foundation by a local family to support architecture that was established by Heljo Kreis in 2012. The aim of the foundation award is to acknowledge noteworthy phenomena, alternative practises and versatile creators who have remained on the margin of the mainstream Estonian architecture.

An Oeuvre on a Potato Field

On tavapärane, et kui eemaldutakse inkubaatorilaadsete tüüpprojektide ehituse ideest, säilib eramu projekteerimisel autori omapära. See, et 1965. aastal kehtinud riigikorra nüansid ei arvestanud individuaalelamute projekteerimisel autorlusega, oli üks põhjustest, miks levisid tüüperamud ja looming oli varjus.

Spatial poetry Spatial illusion Spatial design Spatial poetry design

The question is concerned with the unknown and how to give sense to it. As in the end, every unfamiliarity may be given a familiar, perceivable context. However, let us talk about the feeling of unfamiliarity. Could it be something more, something more genuine or even more delicate than the most obvious, for instance, an abandoned building?

Autumn 2019 (98): Author

UNKNOWNSpatial Poetry Spatial Illusion Spatial Design Poetry Design 〉 Mariann DrellWho Made This? 〉 Roland ReemaaAn Oeuvre on a Potato Field 〉 Diana Drobot, Päär Keedus PERSONASAcknowledging Unnoticed Architecture 〉 Merle Karro-Kalberg PROJECTSImavere Rapeseed Oil Factory — Things that Matter 〉 Kristel Niisuke, Margus TammFotografiska in Tallinn — Matured End of Season Berries with Champagne

Of the Measurable and Unmeasurable in Architecture

Architecture is a practice that operates in an eternal field of tension between the measurable and unmeasurable, where the rational and justifiable materialises in contact with the artistic decisions which are made in the architect’s umwelt and whose internal genesis may often be undefinable and elusive to description. The following is an attempt to shed some light onto that part of the architect’s creative process that is in shadow.

These walls, they talk

The objective of the subjective preference theory founded by the Japanese acoustician Yoichi Ando is to examine the emergence of a satisfying aural experience in a space that supports learning and creative processes.

+ Veel