Estonia, Latvia, and Lithuania, collectively known as the Baltics, are three small countries that most of the world finds pretty much indistinguishable. As a geopolitical term, ‘the Baltics’ took root only in the 20th century. The more distant past and cultural history of the three countries differ on several levels.
Perhaps it is namely in defiance against externally imposed homogenising simplifications that we tend to turn to more distant places for inspiration and view local trends and tendencies as something confined only to national borders. However, anxious times encourage unity, urging us to discover and interpret our identities ourselves instead of letting others define us. In order to be carried and consolidated not only by fear, but also joy, pleasure, and curiosity we invite to discover commonalities and peculiarities of the Baltic countries!
Wide breadth, blurred boundaries, ambiguous endings and beginnings—the charm of the Baltic condition is not easy to grasp. But as Latvians say, per Reinis Salins: ‘Katram savs stūrītis’ (‘Everyone has their own corner’).
Architect Johan Tali, landscape architect Merle Karro-Kalberg, architect Siiri Vallner, project manager Priit Õunpuu and interior architect Hanna Karits discuss their experiences of using limestone in recent projects.
Limestone in Estonian Construction and Architecture in the 20th Century.
The essay 'Sedimentary Flows and Creative Geologies' by Galaad Van Daele was commissioned for the publication Reset Materials--Towards Sustainable Architecture, edited by Chrissie Muhr and published by the Danish Architectural Press (Arkitektens Forlag, September 2023).
Air and its composition concern every field of spatial design, both at the micro and macro levels. The way in which airflows are controlled reveals how a built space relates to its surrounding environment. Hence, in this issue we ask: how does your house breathe?
Humankind is transforming the planet into a vast infrastructural project serving its economic system. Landscape architect Hannes Aava explores how this development is reflected in critical theory and discusses what must be done to prevent the metabolism of humankind from becoming a metastasis.
All new hard infrastructure should be engineered to double as social infrastructure, writes Mattias Malk.
Ingrid Ruudi discusses architects’ relationship with time and the various ways in which architects in their later years record their doings as history.
When a certain building technology or material is sidelined for an extended period, one is bound to get the impression that it is intrinsically obsolete. This has happened with natural stone, which architects, when asked about its potential for use, describe only as being too expensive, too labour-intensive, incompatible with the public procurement system and, as can be witnessed in renovation projects, simply too complicated to build with. The inability to imagine a future different from the present is typical to the 21st century, and hence, the main use of limestone in Estonia remains blasting it into rubble that can be utilised as landfill and concrete aggregate.
What is happening in the freshly insulated walls of author's home?
One of the ways to alleviate environmental problems might lie in architecture that brings people closer to their environment again. Estonia as a maritime nation has plenty of opportunities for this.
n Kärdla School in Hiiumaa, designed by Arhitekt Must, outdoor recess is not some laborious ideological effort, but simply an ordinary and natural idea, writes Kadri Klementi.
Editors' choice
Paide State Secondary School is an excellent example of the mutually complementary dialogue between a historical space and contemporary architecture.
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The architecture offices born at the time of economic downturn are inevitably much less inclined to undertake bold experiments than the ones whose beginnings are rooted in more auspicious times. Instead, what becomes crucial then is an ability to make the most out of the limited resources in a nuance-sensitive way. Thus, KUU architects are, in a sense, minimalists, yet they do not seek minimal form, but look for opportunities to efficiently utilise the existing contexts in order to create spaces that empower its users.
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.
Villem Tomiste is like a figure from the beginning of 20th century Young Estonia movement – genuinely European, deeply urban, and as such, slightly suspicious for the local conservative community. Unlike many architects who preach social benefits, he actually lives by what he promotes in his civic visions – urbanistically to the core, commuting on foot and by tram, avoiding over-consumption, and with a refined aesthetic sensibility. Contemporary spatial culture is, for him, a field of opportunities: extending from urban planning and landscaping projects to dialogues with contemporary music, the visual arts and various exhibition practices.
Each public competition and design carries in itself both potential and responsibility to make a contribution to the spatial environment surrounding the building.
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“?
What is the image conjured up by the phrase ‘the industrial heritage of Tallinn’? Is it the Creative Hub (Kultuurikatel), Rotermann Quarter or perhaps Noblessner Foundry (Valukoda)? Henry Kuningas resorts to outstanding examples to describe the main features implemented in the reconstruction of the industrial heritage in the past two decades.
In the last five years, one hot topic for experts in the field of green transition, which has been cropping up at international conferences as well as on the desks of pertinent officials, is the handling of spatial heritage.
Material use which takes advantage of its specific properties lessens the chance of later unwanted changes in the original architectural design and guides the user experience. What stops architecture from taking the helm in material innovation?
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.
The city dwellers have a smaller ecological footprint, yet as the cities grow, we must also preserve and maintain biological diversity in urban areas, which, among other things, also helps to ensure the high living standard for its residents.
