TALLInnA TELETORn

KOKO Arhitektid on rahvusvahelist tunnustust kogunud ajalooliste hoonete rekonstrueerimisega: Fahle maja (design Museum Londoni poolt parima arhitektuurse kontseptsiooni nominent 2007) ja rotermanni Laudsepatöökoda (Mies van der rohe nimelise preemia nominent 2009). Julge lähenemine ja innovaatilised lahendused keskenduvad olemasolevale ruumile ja selle olemusest tulenevale mõjule.

KOKO Architects have gained international recognition through the reconstruction of historical buildings: the Fahle Building (nominated by Design Museum London for Best Architectural Concept in 2007) and the Rotermann Carpentry Workshop (nominated for the Mies van der Rohe Award in 2009). Their bold approach and innovative solutions focus on the existing room and the effect that derives from its nature.

www.koko.ee

tallinn’s tElEvision towEr

aadress/address: ekspositsiooni autorid/ authors od the exposition:

sisearhitektid/interior design:

kuraatorid/curators:

tellija/client: ehitaja/builder:

fotod/photos:

Kloostrimetsa tee 58A, Tallinn

Andrus Kõresaar, Liis Lindvere, Raili Paling (KOKO Arhitektid) Liis Lindvere, Raili Paling, Margit Argus (KOKO Arhitektid) Kristel Oitma, Mihkel Karu, Ott Sarapuu, Silja Mägi Levira, Tallinna Teletorn YIT Ehitus, YIT Emico

Kaido Haagen, Tallinna Teletorn

Teletorn on inimeste mälus omandanud Eesti taasiseseisvumise viimase kaitserajatise tähenduse. Värviliselt plinkiv torn annab täna märku uue ajastu saabumisest. Ilmselt on see püsiv kutsung suunatud merele, ja ehk kõigile, kel huvi tõusta argielu toimetustest korraks kõrgele üles.

Tegemist on tänapäevases mõistes samuti ajaloolise hoonega. Milliseid piiranguid see seab, või pigem inspireerib? Kas teletorn on ka ehitusmälestis? Andres Kõresaar (AK): Ei ole, aga ta on doCoMoMo nimekirjas, nii et konkursitööd esitati omal ajal eksperthinnangute saamiseks doCoMoMole.

Mis olid teie prioriteedid ja väärtused, mida säilitada ja mida muuta? AK: Väärtuslik on tornikehand ise ehk betoonrajatis (1975–1980). arhitektuurse ilme annavad torni tipus kasutatavad korrused ja selle all olevad diagonaalribid, tähendab david bassiladze arhitektuurne keel. Interjööris on tervikuna säilitamist väärt dolores Hoffmanni vitraaž (1979). Vitraaži asukohta muutsime ukse tsentraalse asukoha muutuse tõttu, mille üle autor just õnnelik ei olnud. Muudetud on kogu sissepääsuala, tingituna sellest, et sealsed basseinid, mis suvel küll kasutuses, seisid terve talve tühjalt. Teine asi oli, et tunnelist lähenemine varjas vaate tornile. Sissepääsuväravas oli kontrollhoone, nii et bussist maha astudes läksid kontrollhoonesse ja sellest hetkest torni väljast enam ei näinudki – selle kontsepti muutmine oli üks peamisi asju, millega me tegelesime.

Siin on arhitektuurne ja ka museaalne aspekt. Mida teletornis eksponeeritakse? AK: arhitektuurne muutus on sissepääsu pandus, mis viib kohe teisele korrusele. Ja talvist turvalist tunnelit saab suvel kasutada väljapääsuks. Teine arhitektuurne muutus on esimene korrus, kus võtsime kasutusele rohkem ruume, kui seal varem oli, ning muidugi mõlemad tornikorrused. Nüüd on 21. korrus tervikuna ekspositsioonikorrus ja 22. korrus restoran ja väike siilakas on Elioni serverid. Üleval tornis võib olla kuni 100 inimest, mis tuleneb tuletõrje nõuetest. Teisel korrusel lifti oodates saab vaadata teletorni ajaloo ekspositsiooni – Tanel Toomi humoorikat 3d-filmi tornist. Ja üleval on Eestit tutvustav näitus – Louis Kahnist arvo Pärdini, lisaks Skype. Näitusekujunduses läbiv motiiv on seenekujuline pööratav robot, mis on seotud torni ehitamisaegse kosmoseromantikaga, kosmoseihalusega. Natuke ka orgaanikaga – seen kui looduses kasvav organism, mis on omandanud ülisuuruse.

Kas käisite ka tutvust tegemas analoogsete tornidega? AK: Jaa, käisime küll, berliinis – torn tiirleb, tunni ajaga teeb tiiru peale. Siis ka Stuttgardis, Plymouthis. Need kõik paiknevad kesklinnas, sündmuste keskel, kõik on põnev ümberringi. Tallinna teletorn on linnast väljas. omal ajal valiti viie asukoha vahel, millest kaks olid absurdsed: üks Naissaarel ja teine seal, kus ta praegu on – oru põhjas, niiskel pinnasel, kuhu raske vundamenti kinnitada. Tolleaegne otsus, et linnast välja, kaugele, tuli Kgblt, et see on kaitstav infrastruktuuri objekt.

Kas torn kõigub ka? Kõike ei saagi elus planeerida, loodusjõud tulevad mängu. AK: Mitte eriti, tormiga kõigub kuni 30 cm. See on pigem enesetunde küsimus. aga ehitustöö kõrguses nõudis põhjalikku läbimõtlemist, see tõi omaette dimensiooni sisse. Vana liftiga ei saanud raskusi vedada, tuli arvestada väljas kaabli otsas oleva konteineriga, mis omakorda sõltus tuulest ja vihmast.

The television tower has acquired the meaning in people’s memory of the last fortification in the restoration of Estonia’s independence. The colourfully flashing tower nowadays indicates the arrival of a new age. This persistent call signal is apparently aimed at the sea and perhaps at everyone who is interested in rising high above the daily routine for a moment.

This is also an historical building in today’s terms. What restrictions does this set, or does it inspire instead? Is the television tower also an architectural monument? Andres Kõresaar (AK): No, it isn’t, but it is on the DoCoMoMo list, so the competition entries were submitted at the time to DoCoMoMo for expert analysis.

What were your priorities and values, what to preserve and what to change? AK: The carcass of the tower itself, in other words the concrete structure (1975–1980) is valuable. The architectural appearance is created by the usable storeys at the tip of the tower and the diagonal ribs under it, meaning David Bassiladze’s architectural language. The stained glass by Dolores Hoffmann (1979) is worth preserving in its entirety in the interior. We changed the location of the stained glass due to a shift in the location of the central position of the door. This did not exactly please the author. The entire entrance area has been altered due to the fact that the pools there, which were in use during the summer, stood empty all winter long. The other point was that approaching the tower through the tunnel concealed the view of the tower. There was a control building at the entrance gate so that when you got out of the bus, you went into the control building and from that moment on, you no longer saw the tower from the outside – changing this concept was one of the main things that we dealt with.

There is an architectural and a museum aspect to this. What is displayed in the television tower? AK: The architectural change is in what was put into the entrance, which leads directly to the second storey. And the safe, winter tunnel can be used in the summer as an exit. The other architectural change is the first storey, where we put more rooms to use than before, and of course, both tower storeys. Now the entire 21st storey is an exposition storey, and the 22nd storey is a restaurant, and Elion servers occupy a small sliver. There can be up to 100 people up in the tower according to fire safety regulations. You can view the exposition of the television tower’s history on the second storey while waiting for the elevator – the humorous 3D film about the tower by Tanel Toom. And up above is an exhibition introducing Estonia – from Louis Kahn to Arvo Pärt, with Skype as well. A rotatory robot shaped like a mushroom associated with the romance and longing for outer space in the time when the tower was built is the motif that runs through the design of the exhibition. It is also associated a little with organics – the mushroom as an organism that grows in nature that has grown extremely large.

Did you go to familiarise yourself with analogous towers? AK: Yes, we went to Berlin – the tower spins. It makes one complete rotation in one hour. Then we also went to Stuttgart and Plymouth. All those towers are situated in the city centre, in the middle of events, everything all around is exciting. Tallinn’s television tower is outside of the city. Back in its day, the location was chosen from among five potential sites, of which two were absurd: one on Naissaare Island, and the other where the tower presently stands – at the bottom of a valley on damp soil where it is difficult to affix a foundation. The decision of that time to build it a long distance outside of the city came from the KGB, since it was an object of the infrastructure that had to be defendable.

Does the tower sway as well? Everything cannot be planned in life, the forces of nature come into play. AK: Not particularly. Under storm conditions it does sway up to 30 cm. It is more a question of how you feel. But construction work at high altitudes required thoroughness in thinking it through. This brought another separate dimension to the project. Heavy objects could not be hauled up using the old elevator, so we had to rely on a container outside at the end of a cable, which in turn depended on wind and rain.

Kui alice irvikkassiga kloostri taha metsa jõudis, oli teletorn juba valmis. liftid ikka ei töötanud, ja selleks, et üles jõuda, tuli kasutada treppi. ronida oli väga palju, aga kuna aega oli, siis kohale jõutigi alles kahekümne aasta pärast. nüüd siit pilve piirilt piiritut avarust vaatama jäädes sündis nende peas siiras soov luua asju, mida enne pole nähtud ega kuuldud. „siia saagu seenemets,” ütles alice. alustatigi siis seentest, enneolematutest. vallatute, krigisedes liikuvate seente tõttu aga loobuti hoopis metsast ja selle kohinast, sest asju sai juba niigi palju. Kui veel sündisid hõljuvad lamp-pilved ja munajas administraatorilaud, oligi valmis. tegelikult ongi teletorni uuestisünni võlu selles, et väheste vidinatega on täidetud ajavahemiku tühikud oskusliku veenvusega ajateljel liikumisest. perspektiivselt ahenev sissepääs temaatilise supergraafilise seina taustal laheneb fuajee ufo-temaatiliste detailidega. Eks teletorn olegi nagu juhe Maa pealt kuhugi. Ülemistel vaatekorrustel on kosmilise lähenemise väljund realiseeritud juba eespool kirjeldatud motiividega. Kui veel ette kujutada läbi kaduva põranda vabalangemise kõditavat mõnu, siis lahkumine teletornist on meeleolukas ja tagasitulekut soosiv.

Raivo Puusepp, arhitekt ja ESLi aastapreemiate žürii liige

1. korruse plaan Ground floor plan

21. korruse plaan 20th floor plan 22. korruse plaan 21st floor plan

When Alice arrived in the woods behind the abbey with Grinning Cat, the television tower was already built. The elevators didn’t work yet and you had to take the stairs to get to the top. It was a long climb but since they had the time, then they arrived at the top twenty years later. Now as they remained looking at the vast open expanse from here at the edge of the clouds, the sincere wish occurred in their heads to create things that have never before been seen or heard. Let there be a mushroom forest here, said Alice. Then they started with unprecedented mushrooms. Due to the mischievous mushrooms that crunched as they moved, they abandoned the idea of the forest and its rustling because there were already too many things. When floating lamp clouds and an egg-shaped administrator’s desk were born after that, everything was ready. Actually, the appeal of the rebirth of the television tower is that the gaps in the interval are skilfully filled with few gadgets from moving along the time axis with conviction. The entrance narrowing in perspective on the background of a thematic super-graphic wall is resolved with the UFO-theme details of the foyer. You could say the television tower is like a conduit from Earth to somewhere. The expression of the outer space approach is realised on the upper observation storeys using the motifs already described above. If we were to prescribe the ticklish pleasure of free falling through the disappearing floor, then leaving the Television Tower is spirited and favours returning.

Raivo Puusepp, architect and member of the ESL annual awards jury