Dan dorell presse musée estonie 160117sd by Dan Dorell

PRESS REVIEW

Dan Dorell (DGT.)

ESTONIAN NATIONAL MUSEUM 2016-2017

THE GUARDIAN The Observer- 1st janvier 2017 UK

Architecture

Chilly times for a monum

Estonia makes its mark with a museum designed by a multinational team on a former Rowan Moore @RowanMoore

Estonian National Museum Tartu, Estonia

It is unusual to put a museum at the end of a runway, still more if it also straddles a chain of ornamental lakes, but then the Estonian National Museum is not a usual sort of institution. Its past is wrapped up with that of the country itself. Now it somehow has to represent the complex and precarious history of Estonia, in a fraught present, with a combination of pride and sensitivity. For a European country to build a national museum at this moment, when nationalism is taking new and unpredictable forms, is perilous. If Russia were to invent such a thing now, it would look like another form of aggressive aggrandisement; if Britain, an episode of querulous post-Brexit blue-passport patriotism; if Germany, it would raise issues too agonising for a single museum to handle. Estonia, a country of 1.3 million, whose two periods of independence – between the wars and since 1991 – add up to less than 50 years, and which still has grounds to be nervous of its neighbour Russia, has reason to define and assert itself with a museum, but it also has to tread cautiously. The idea of a national museum has been linked to the idea of Estonian independence for more than a century, ever since a group of nationalistminded intellectuals decided to create such a thing. Since then the fluctuating fortunes of independence, war and

THE GUARDIAN The Observer- 1st janvier 2017 UK

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languages in the same Finno-Ugric group as Estonian, a partly conjectural display of festivals and reconstructed cabins. This is tricky stuff, not least

it would raise issues too agonising for a single museum to handle. Estonia, a country of 1.3 million, whose two periods of independence – between the wars and since 1991 – add up to less than 50 years, and which still has grounds to be nervous of its neighbour Russia, has reason to define and assert itself with a museum, but it also has to tread cautiously. The idea of a national museum has been linked to the idea of Estonian independence for more than a century, ever since a group of nationalistminded intellectuals decided to create such a thing. Since then the fluctuating fortunes of independence, war and

THE GUARDIAN The Observer- 1st janvier 2017 UK

It’s a country of 1.3 million whose two periods of independence add up to less than 50 years occupation have caused the collections to be housed in different places, to be dispersed and reassembled. Under postwar Soviet occupation the contents and concept of the museum were threatened. In the late 80s the call to reinstate the museum was part of a new campaign for freedom. The new €70m building is the fulfilment of this desire, after many years of debate and interruptions since Estonia won back independence in 1991. Its location, according to the usual logic of maximising visitor numbers, is near-suicidal. It is not in the capital Tallinn but 190km away in the second city, Tartu (population 100,000), and not precisely there either but a 2km journey through sometimes brutal weather from the centre. But what the site lacks in accessibility it makes up for in significance: it includes the remains of a manor house, wrecked in 1944, in which the collections were housed between the wars. It also includes an airstrip, with associated earthworks for protecting warplanes, used by the Soviet military. With the aircraft roaring over the ancient university town of Tartu, it was a symbol of the hatefulness of occupation. The design of the building is the result of a competition held in 2005 and won by a multinational trio of young architects, the Italian-Israeli Dan Dorell, the French-Lebanese Lina Ghotmeh and the Japanese Tsuyoshi Tane, who were working in the London offices of David Adjaye and Norman Foster and sacrificing sleep and leisure to work on their entry in their spare time. Entrants could choose a site somewhere in the grounds of the old manor house. DGT (as the three called themselves once they became

The Estonian National Museum outside Tartu, top. The entrance is at the highest point of the building, which is wedge-shaped, above. An aerial shot shows the runway formerly used by Soviet war planes at the far end of the museum. Also visible are the ornamental lakes left over from the site’s history as a manor house with landscape garden. Above right, the ruins of the manor house, where the museum’s past collection was housed between the wars. Photographs by Tiit Sild, Takuji Shimmura

The new review | 01.01.17 | The Observer

an architectural practice) selected a location at the end of the old runway. For the architects it was important not to erase the past – that as Dorell says, the museum could be “mature enough to get over the trauma”. The building, 355m long, projects the straight lines of the runway back towards the city. Its glass sides, imprinted with a white pattern, are designed to reflect surrounding trees and snow. Its roof gradually slopes upwards until it forms a grand portico at the main entrance. At one point the building bridges a lake, one of a sequence that originated in the manor house’s landscape garden. Courtyards puncture the block, introducing fragments of nature. The interior is spacious and airy, with views to the outside seen through layers of glass. It was a controversial choice, to draw attention to the most negative part of the site’s history. There were

also strong lobbies for placing the museum somewhere else entirely, in the centre of Tartu or in Tallinn. The European Union, not liking the remote location, refused to contribute to its cost. There were objections to the appointment of foreign architects for this national emblem. The 2008 crash slowed things down. For all these reasons it took more than a decade for the designs to be realised, during which time DGT set up their office and based themselves in Paris, all the time battling to realise what would be a spectacular first project for any practice, working unpaid when necessary – “we were ready for anything to make this happen”. They credit the “miracle” of its realisation to its former director Krista Aru – “to the strength of that woman” – and to “our belief”. The outcome is a contrasting combination of national and

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ernational, folkloric and modern, arged and cool. The building is ssy, geometric, hard-surfaced, aight-lined. The contents tend to handmade, everyday, sometimes ugh-hewn, often in the country’s st abundant material, which is od. The aim of the museum is not record grand historical events so ch as the lives that ordinary people ed through them. Nor is it just about hibits – music and drama are held re, such that the museum becomes effect a very large village hall. The origins of the collection are in late 19th and early 20th centuries, en 1,400 volunteers toured the wns and villages of the not-yetognised country to gather texts d artefacts of popular folklore. To se have been added mementoes ives since then, through the bulence of the 20th century. There for example the charms, pagan

THE GUARDIAN The Observer- 1st janvier 2017 UK

in origin, that peasants used to bring luck to their fields centuries after the country was supposedly Christianised. There are 2,600 ornamental wooden beer tankards, large and individually personalised. There are medals won by pilots, an art deco radio, rusted military material from the airfield, early photographs of cautiously squinting country people. Struggles against foreign rule – the country has at different times been run by Swedes, Germans and Russians – are there, but mostly discreetly. There is a video of the Baltic Way of 1989, in which 2 million people joined hands across the three Baltic states of Estonia, Latvia and Lithuania. There is a bookcase that reconstructs the way in which, under the Soviets, cohesion came from oppression: restricted in many ways, Estonians turned to discussions of literature, in turn limited by the small range of titles available,

which were mostly translations of classics such as Dickens. There is a lawnmower from a time when it was impossible to buy such a machine, a little monument of persistence and ingenuity, handmade out of a pushchair, a washing machine motor and a bucket. The patriotism is a little more overt in a reverential room in which the first Estonian flag, made by students in the late 19th century and banned in Soviet times, is displayed. There are also large basement galleries dedicated to the peoples deep in Russia who speak

It is a long way from the contemporary sharpness of the glass to a wooden beer tankard

languages in the same Finno-Ugric group as Estonian, a partly conjectural display of festivals and reconstructed cabins. This is tricky stuff, not least for the large Russian minority within Estonia, but it is mostly negotiated with tact. The museum could be both triumphalist and sentimental, but it is neither. At their best the displays are touching and revealing rather than heroic. The architecture plays its part by combining the drama of its setting and a striking overall form with a deadpan delivery. Views are offered of the ruin and of the landscape, downward to water and upward to sky, and long perspectives to the runway, but without exclamation marks. The temptation to invent a style somehow Baltic-looking has been avoided. If these are good instincts they also mean that the building, contents and setting will take some getting used to each other. It is a long way from the contemporary sharpness of the glass to a wooden beer tankard, a distance that the designers of the exhibition installations have tried too hard and intrusively to close. The surrounding landscape, much of which had to be dug up to remove contamination left by the airbase, is still raw. The museum is a project unlikely as the lawnmower, or indeed Estonia itself, which relies on passion for the theme to override disadvantages of location. So far it seems to be working, with about 60,000 visitors in each of its first two months. It is also a work in progress, not least because the museum is still inviting Estonians to contribute their personal objects. This is as it should be, as identity is something that never stands still.

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6 FRAMES

TARTU THE NEW ESTONIAN NATIONAL MUSEUM

Numero 11 - Anno II - 2016 - Publicomm Srl - Milano - Bimestrale - Italia € 10 - AUT 13,00 € - BE 12,50 € - F 15,50 € - PTE CONT. 11,50 € - E 11,50 € - UK 9,00 £ - CH 13,00 Chf - ISSN 2420-9090

PLATFORM Magazine Decembre 2016 ITALY

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THE AGE OF AWAKENING PROJECT Estonian National Museum/Memory Field ARCHITECT Dorell Ghotmeh Tane (DGT) LOCATION Tartu, Estonia YEAR 2016 PHOTO Takuji Shimmura

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During the nineteenth century Estonia experienced an ‘age of awakening’ with the spread of a national consciousness and the establishment of Estonian language, literature, theatre and professional music, as well as the formation of the Estonian national identity. Estonia initially gained its independence from Soviet rule in the 1920’s, only for its parliament to be disbanded in 1938. During World War II, Estonia was occupied and annexed first by the Soviet Union and subsequently by the Third Reich, only to be re-occupied by the Soviet Union in 1944. War losses in Estonia, at around 25% of the population, were among the highest in Europe and an estimated 90,000 Estonians died.

PLATFORM Magazine Decembre 2016 ITALY

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Nel diciannovesimo secolo l'Estonia ha vissuto una cosiddetta "epoca del risveglio", con la diffusione di una coscienza nazionale, l'affermazione di una letteratura, spettacoli teatrali e musica professionistica in lingua estone, nonché la formazione dell'identità nazionale. L'Estonia conquistò l'indipendenza dal dominio sovietico dapprima negli anni Venti, ma il parlamento venne poi sciolto nel 1938. Durante la Seconda Guerra Mondiale, l'Estonia venne occupata e annessa prima all'Unione Sovietica e successivamente al Terzo Reich, per essere poi occupata nuovamente dall'Unione Sovietica nel 1944. Le perdite di guerra furono pari a circa il 25% della popolazione, una delle percentuali più alte in Europa, e si stima che 90.000 estoni persero la vita nel conflitto.

10 FRAMES

PLATFORM Magazine Decembre 2016 ITALY

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Estonia regained its independence on 20th August 1991 and joined the European Union in 2004. It has since embarked on a rapid programme of social and economic reform. The creation of the new Estonian National Museum, to be located in the city of Tartu, is testament to the quest for the reawakening of a pride in national identity and a unique cultural history. The international competition for the design and execution of the 34,000 m² building housing a collection of 140,000 objects, was launched in 2005.

L'Estonia ha riconquistato l’indipendenza il 20 agosto 1991 ed è entrata nell'Unione Europea nel 2004. Da allora ha avviato un rapido programma di riforme sociali ed economiche. La creazione del nuovo Museo Nazionale Estone nella città di Tartu è la testimonianza del tentativo di risvegliare un'identità nazionale e una storia culturale unica. Il concorso internazionale per la progettazione e l'esecuzione di un edificio di 34.000 m², che ospiterà una collezione di 140.000 oggetti, è stato lanciato nel 2005.

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DGT’s proposal for this Museum challenged the competition brief. Instead of locating the building on the proposed site, DGT chose to re-appropriate a nearby former Soviet military base as the setting for the Museum - a physically present ‘ruin’ and reminder of a painful history. They believed that the new Museum should play an essential role in the regeneration of the area and to do so it had to start by dealing with this heavily charged and spatially unique place. With a sensitive implementation on this site, the National Museum becomes a continuation of the airfield – its roof lifting and expanding towards ‘infinite space’ - inviting the visitor to enter into the landscape and into the heart of the museum. DGT’s design creates an open house for public activities exhibition, performance, learning - a place of gathering and interaction, bringing people together to celebrate a rich, if sometimes painful, history.

La proposta di DGT in relazione a questo museo mette in discussione le direttive del concorso. Piuttosto che collocare l'edificio sul sito proposto, DGT ha scelto di riappropriarsi di una ex base militare sovietica che si trova nelle vicinanze come luogo dove sviluppare il museo, "monumento" tangibile di una storia dolorosa. Gli architetti hanno pensato che il nuovo museo dovesse giocare un ruolo essenziale nella rigenerazione dell'area e, per far ciò, bisognava cominciare dal confronto diretto con questo spazio unico ed emotivamente carico. Implementando il progetto con grande sensibilità su questo sito, si renderà il Museo Nazionale una continuazione del campo d'aviazione, con il soffitto che si alza e si espande verso uno "spazio infinito", invitando il visitatore a entrare nel paesaggio e nel cuore del museo. Il progetto di DGT crea un edificio aperto ad attività pubbliche, mostre, esibizioni, momenti di apprendimento, un luogo di incontro e interazione che unisce le persone per celebrare un passato ricco, seppure a volte doloroso.

PLATFORM Magazine Decembre 2016 ITALY

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DGT. DORELL.GHOTMEH.TANE/ARCHITECTS IS AN INTERNATIONAL PARTNERSHIP FOUNDED IN 2006 IN PARIS AND PRACTICING ARCHITECTURE, URBANISM AND DESIGN IN THE BROADEST SENSE OF THESE DISCIPLINES: A RESEARCH DRIVEN

PROCESS,

SPATIAL

ARCHEOLOGY,

GENERATING CUTTING EDGE YET EXTREMELY SENSITIVE PROJECTS. THE PRACTICE IS LED BY

DAN

DORELL,

LINA

GHOTMEH

AND

TSUYOSHI TANE AND COLLABORATES WITH A MULTICULTURAL TEAM OF MORE THAN 15 ARCHITECTS

AND

PROFESSIONALS

FROM

INTERDISCIPLINARY FIELDS. DGT. DORELL.GHOTMEH.TANE/ARCHITECTS È UNA PARTNERSHIP INTERNAZIONALE FONDATA NEL 2006 A PARIGI CHE INTENDE L'ARCHITETTURA, L'URBANISTICA E IL DESIGN NEL LORO SENSO PIÙ AMPIO: UN PROCESSO ORIENTATO ALLA RICERCA, IN

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UN’ARCHEOLOGIA DI

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GRANDE SENSIBILITÀ. LO STUDIO È DIRETTO DA DAN DORELL, LINA GHOTMEH E TSUYOSHI TANE E COLLABORA CON UN TEAM MULTICULTURALE DI PIÙ DI 15 ARCHITETTI E PROFESSIONISTI DI AMBITI INTERDISCIPLINARI.

Photo Alexandre Isard

MAIN PROJECTS Mobile Pavillon Renault world exhibitions, Paris, France, ongoing on 4 continents Realimenter Massena, Paris, France, 2016 Time is TIME, Milan, Italy, 2016 Oiso House, Oiso, Japan, 2015 Zero Emission office building, Bolzano, Italy 2015 Olympic National Stadium, Tokyo, Japan, 2014 Italian Pavilion for Expo Milan, Italy, 2013

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Protein

Protein PubliĂŠ le 27/05/2016 par Maude Churchill

Global Competition Review PubliĂŠ le 15/06/2016 par Joe Quirke