BÜROO TURVATEHnIKA

Sisearhitektuuribüroo VLS alustas buumi ajal ning on praeguseks tegutsenud projektide kallal avalikest hoonetest väiksemate eraobjektideni, vahele mõni tore kunstiprojekt. olulisemate tööde hulka võib arvata käesoleva, ning varasemast ajast näiteks Paide Spordihalli. VLSi sisearhitektid on olnud kaasautoriteks ka Eesti rahva Muuseumi ning KUMU kunstimuuseumi sisustuse loomisel.

The VLS Interior Architecture Bureau started out during the construction boom and by now has worked on projects ranging from public buildings to smaller private objects, with a few nice artistic projects sprinkled in between. This project can be considered among their more important jobs, along with the Paide Sports Arena from among previous projects, for instance. VLS interior architects have been co-authors in creating the interior furnishings for the Estonian National Museum and the KUMU Art Museum as well.

www.vls.ee

turvatEhniKa officE

aadress/address: autorid/authors:

tellija/client: ehitaja/builder: sisustus/furnishings:

fotod/photos:

Tondi 49, Tallinn Ville Lausmäe, Kadi Karmann (VLS) Turvatehnika Megaron ARS Sisustus

Reio Avaste

Must maht on märkamatult kerkinud Tondi tänava pretensioonitusse keskkonda. Kes ja miks peaks sinna sisse astuma, tekib möödujal tagasihoidlik küsimus.

Mis hoonega on tegu? Ville Lausmäe (VL): Turvatehnika, nagu nimi ütleb, peaks midagi väga turvalist olema. reaalsus on see, et firma müüb suitsuandureid jms tehnikat valgest plastmassist, see on maailma kõige igavam kraam.

Milline oli tellija lähteülesanne ja mis on sind inspireerinud? VL: Tegelikult imen loo välja tühjalt kohalt – kliendist, või kui sealt ei saa inspiratsiooni, siis kuskilt mujalt haakuva loo, et inimestel jääks lahkudes väga konkreetne tunne, kus nad käisid. Fantaseerides ja olles suur filmihuviline käisid silme eest läbi James bondi filmid: dr Evil valge kassiga, see justkui sobis. Eesmärk oli elamuslik objekt, hästi viimistletud, hästi puhas, näiteks seinad on peaaegu üleni roostevabast terasest. Kui vana James bondi vaadata, siis tunne on natuke selline ülbe, samas hästi esteetiline, umbes nagu berliini juudimuuseumis, kus lae all on üks pilu, kust tuleb hääli ja valgust, et tekiks emotsioon.

See interjöör ei loo otseselt pilti turvalisusest, mõjub pigem nagu 3D-pilt. VL: Ta loob illusiooni võimsusest nagu bondi filmis – kõikvõimsuse, kuid ignorantse tunde. 1/3 on müügisalong, 1/3 nõupidamisruum ja 1/3 on saun. Nii et kõik kokku üks suur showroom, kus töötab vaid paar inimest. aknast välja vaadates on tunne, et siin on peakontor, ja kõik need kaarhallid, mis paistavad, on tootmiseks. Meil oli hästi palju detailidega tegemist. Trepikoda on maailma kõige lakoonilisem, külm ja hõre, puudub tuttavlikkus. Siin on ülipuhas klaas, mis liitub teise klaasiga, ülipuhtalt vormistatult. Ehitusega läks muidugi keeruliselt, neid klaase on siit prügimäele viidud teab mitu korda.

High-tech siis tegelikult. VL: Nojah, kodumaiste vahenditega loomulikult. Ma ei ole kunagi uskunud sümboolikasse ja olen selle vägivaldselt meie projektidesse pannud.

Oled sa perfektsionist – kui lähed objektile ja seal vaatab vastu miski, mida oled teisiti ette kujutanud. Lähed asjaga kaasa või jääd enda juurde? VL: Ma lähen kaasa niikaua, kui olen võimeline asja ümber mõtestama. Vahel ei saa osapooled enam aru, millal öelda jah, millal ei. Nimetame siis „mööda” lahendust uueks lahenduseks ja kui uus sobib algse kontseptsiooniga, siis miks mitte, ta ei pea olema nagu joonisel. Kui riivab silma, siis kuulub ümbertegemisele, selle määrab sisetunne.

Kas kujutleksid end ise siin tumedas ruumis töötamas... VL: Ma olen selline kameeleon, jah, miks mitte. Mu kunagine elamine oli samasugune, vaid lumivalge.

1m 5m

1. korruse plaan 3. korruse plaan Ground floor plan 2nd floor plan

A black volume has inconspicuously appeared in the unpretentious environment of Tondi Street. The discreet question of who should enter that building and why occurs to passers-by.

What kind of building is this? Ville Lausmäe (VL): Security technology, as the name says, should be something very secure. The reality is that the company sells smoke detectors and other such equipment made of white plastic. That is the most boring stuff in the world.

What was the customer’s original task and what inspired you? VL: I actually extract a story from a vacant place – from the customer, or if I can’t get inspiration from there, then a story from somewhere else that ties in so that visitors will have a very explicit feeling of where they were when they leave the building. I’m a big film buff and when I fantasised, I saw James Bond films in my mind’s eye: Dr. Evil with his white cat. That seemed to be suitable. The objective was an object that offered experiences, well finished, immaculately clean. For instance, the walls are almost completely made of stainless steel. If you watch the old James Bond, the feeling is kind of arrogant while at the same time very aesthetic, something like at the Jewish Museum in Berlin, where there is a slit in the ceiling that emits voices and light to create an emotion.

This interior does not directly create a picture of security. The effect is more like that of a 3D-picture. VL: It creates an illusion of might like in the Bond films – a feeling of omnipotence yet at the same time ignorance. The sales area occupies one third of the space, the conference room occupies another 1/3, and the sauna covers the final 1/3. Thus it is all in all one large showroom where only a couple of people work. When you look out the window, you get the feeling that this is the head office and all those arced hangars that are visible are for production. We had a lot of work to do on details. The stairwell is the most laconic in the world, cold and sparse. It lacks a certain familiarity. There is extremely clean glass here that joins with another glass, formed extremely cleanly. The construction was complicated, of course. Those glasses were sent to the garbage dump from here countless times.

High-tech then actually. VL: Well, yes, using domestic means, naturally. I have never believed in symbolism and I have forced that into our projects.

Are you a perfectionist – when you go onsite and you stand face to face with something that you imagined differently? Do you go along with it or do you remain true to yourself? VL: I go along with it as long as I’m able to reinterpret it. Sometimes the parties no longer understand when to say yes and when to say no. Let us then call a solution that “misses the mark” a new solution and if the new solution fits in with the original concept, then why not? It doesn’t have to be like it is in the drawings. If it offends the eye, then it has to be redone. Your gut feeling decides that.

Can you imagine yourself working in this dark room... VL: I’m a chameleon. Yes, why not? I used to live in a place like this, only it was snow white.

turvatehnika majas oli tähelepanuväärne, kui väheste värvide ja materjalidega on võimalik saavutada mänguline elegants. hoone välisviimistluse tume toon on toodud siseruumidesse. Minu jaoks oli aga üldmulje liialt sünge, kuna tumeda kesta sisse sobiks sama hästi ka hele sisu, ning jätta tume teatraalsus pigem ühiskondlikele hoonetele (näiteks muuseumidele).

Reio Avaste, arhitekt ja fotograaf

It was remarkable how it is possible to achieve a playful elegance in a building for security equipment using few colours and materials. The dark tone of the building’s external finishing has been brought into the interiors. The general impression, however, was too morose for me since light-coloured contents would be just as well suited in a dark casing. Dark theatricality should be left more for public buildings (like museums, for instance).

Reio Avaste, arcitect and photographer