EESSÕnA/FOREWORD

Valik Eesti Sisearhitektide Liidu 2012. aastal realiseerunud projektidest on kaante vahel, mis annab hea ülevaate professionaalsetest töödest, sisearhitektidest ning tellijatest. Silmatorkavalt elujõulised on muuseumid ja näitused, mis on inspireerinud sisearhitekte loomingulisemale eneseteostusele. Lennukad on ülikoolide funktsionaalsed ruumilahendused. Seekordse raamatu visuaalse pildi loovad interjöörifotodele lisaks ka hoonete välisvaated, samuti detailifotod ning autorite visandid, plaanid, lõiked. autorid saavad isiklikult sõna oma mõttekäikude kirjeldamiseks loome- ja ehitusprotsessis. Lõpptulemust kommenteerivad kriitiliselt ja humoorikalt arhitektidest, fotograafist, arhitektuuriloolastest ning sisearhitektidest kolleegid žüriiliikme pilgu läbi.

Tellija rolli on raske ülehinnata ülesande püstitajana ja seejärel realiseerijana. Sisearhitekti väljakujunenud isikupära väljendub oma käekirjas ka väga erinevate ruumide kujundamisel jõulise natuuri puhul. Õnnestumise eelduseks on hea kommunikeerimisvõime, piisav aeg häälestumiseks, julgus kõhklusteks ja katsetamiseks ja vajaduse korral ka ümbermõtestamiseks. Kindlapeale minek ei saa olla omaette eesmärk – vaataja tunneb selle kohe ära.

ruumimõju loomine ja sisearhitektuurne projekteerimine on sisearhitekti pärusmaa, mis on justkui sarnased mõisted, kuid eeldavad autorilt mitmekülgseid oskusi ja isikuomadusi, ehituslikku kogemust ja tugevat kunstnikupositsiooni. ruum võib paikneda ajaloolises hoones või majas, mille projekt on alles arhitekti töölaual. Suhestumine nii ühe kui teisega on justkui iseenesestmõistetav, sest meie väikeses Eestis ei ole spetsialiseerumist ühe või teise hoonetüübi kujundajaks, olgu see haigla või koolimaja. Suurem statement on ehk see, et mõni sisearhitekt tegeleb vaid avalike ruumide loomisega ning kodusesse privaatruumi ei söanda tungida. Kahjuks puuduvad ka seekordses raamatus eluruumide projektid, kuid loodetavasti viib tulevik meid soovitud suunas.

Kuidas inimesed elavad ja „oma ruumi” kasutavad, on huvitav teema, kuid sisearhitektile teinekord raskemgi, sest elamises lihtsalt on nii palju isiklikku ning autori käekiri on kerge kaduma. Kui palju vajab üks ruum loomingulist lähenemist, oleneb muidugi eelkõige selle ruumi kasutajast, tellijast ning funktsioonist. Siin avaldub autori isikupära, see tajutav tunnetuslik „miski”, mida ei saa otseselt kirjeldada, õpetada ega seletada. Sestap paneb mind imestama fotograafide jätkuv huvi tühja ruumi vastu, mis ei mõju paraku „elusana”.

oma disainerielu elavad vormiloojad, kes loovad uusi mööbliesemeid, sõltumata kohaspetsiifikast. Potentsiaalsele kasutajale vajaliku disainlahenduse väljapakkumine ning selle tootmisse juurutamine on omaette maailm, mis eeldab innovatiivselt mõttelt head sihtgrupi ja ajastu tundmist ning orienteerumist materjalides ja tehnoloogiates.

Projekteerimine omakorda on tehniline ala, mis on hinnatav kutsestandardiga, teadmisi, täpsust ja aeganõudev reaalne tegevus, mis seob liidu liikmed omanäoliseks professionaalseks kogukonnaks. ESLi aastaraamat kui kogumik on läbilõige ehk ajastu märk, nii tegijate kui tellijate-kasutajate vaatevinklist. Head süvenemist!

Tüüne-Kristin Vaikla, sisearhitekt, ruumipilt 2012 koostaja ja toimetaja

A selection of projects of the Estonian Association of Interior Architects brought to fruition in 2012 is enclosed between the covers of this book, providing a good overview of professional projects, interior architects and customers. Museums and exhibitions are conspicuously vigorous, inspiring the self-realisation of interior architects. In addition to photographs of interiors, exterior views of buildings and photographs of details as well as sketches, plans and cross-sections by the authors create the visual appearance of this book. The authors get to have their say in person to describe their trains of thought in the creative and construction process. Colleagues who are architects, photographers, historians of architecture and interior architects critically and humorously comment on the end results through the eyes of jury members.

It is hard to overestimate the role of the customer as the one who poses the task and thereafter brings it to its fruition. In the case of vigorous personalities, their style in designing very different spaces expresses the established identity of the interior architect. The requirements of success are good communication skills, sufficient time to attune to the work at hand, courage to hesitate and experiment, and if necessary to reinterpret. Safe choices to guarantee results hopefully cannot be an end in itself – the viewer will recognise that right away.

Creation of spatial effect and interior architectural project design are the domain of the interior architect. These are seemingly similar concepts, yet they require versatile skills and personal qualities of the author, along with experience in construction and a strong artistic concept. Rooms can be located in historical buildings or structures for which the design is still on the architect’s work desk. Relating to one and the other seems to go without saying because in our little Estonia, there is no specialising in the design of one or another type of building, whether it be a hospital or a school. The strongest statement is perhaps the fact that some interior architects work only on creating public spaces and do not dare to enter the private space of homes. Unfortunately, projects for living spaces are not found in this book, either, but we are moving in the direction of developing that field of work.

How people live and use their “own space” is an interesting theme, yet is sometimes even more difficult for the interior architect because there is simply so much that is personal in living spaces and the author’s style can easily be lost. Just how much of a creative approach a particular room needs depends, of course, primarily on the users of that room, its customer and function. The author’s identity is manifested here, that perceptible, cognitive “something” that cannot be directly described, taught and explained. Hence the continued interest of photographers in empty rooms that inevitably do not come across as being “alive” amazes me.

The creators of forms who create new pieces of furniture and other objects regardless of specific place or location live their own design life. The proposal of design solutions needed by potential users and putting them into production is a world of its own that requires thorough familiarity with target groups and the current era, along with orientation in materials and technologies in order to bring innovative ideas to life.

Project design, in turn, is a technical field that can be appraised using professional standards. It is a time-consuming real activity that requires knowledge and precision, which unites the members of the association into a distinctive professional community. The ESL yearbook as a collected work is a cross-section, or sign of the era from the point of view of those active in the field as well as of customers and users. Enjoy yourself as you delve into this world!

Tüüne-Kristin Vaikla, interior architect, compiler and editor of Ruumipilt 2012