TARTU ÜLIKOOLI VARAKAMBER

KAOS Arhitektide asutajad on arhitekt Margit Aule ja sisearhitekt Margit Argus. Neid huvitab avalik ruum nii hoonete sees kui ümber. Näituste ja muuseumide töögruppides on hiljuti valminud olulised objektid nagu Lennusadama Meremuuseum ja Tallinna Teletorni rekonstruktsioon.

The founders of KAOS Architects are the architect Margit Aule and the interior architect Margit Argus. They are interested in public space both within and around buildings. Key objects like the Seaplane Harbour Maritime Museum and the reconstruction of Tallinn’s television tower have recently been completed in the working groups of exhibitions and museums.

www.kaosarhitektid.ee

The Treasury of The universiTy of TarTu

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graafiline disain/ graphic design: multimeedia/multimedia: ehitaja/builder: mööbel/furniture: lagi/ceiling:

fotod/photos: Lossi 25/Tartu

Margit Argus, Margit Aule (KAOS Arhitektid) Tartu Ülikool Terje Lõbu, Mariann Raisma, Tiina Vint

Polaar Studio New Garage Time Vennad Ehitus John Berger Eesti Jamaika Transit

Reio Avaste, Andris Feldmanis, Ove Maidla, Tartu Ülikooli Muuseumite arhiiv

varakambris avaldas muljet kerge konstruktsiooniga üllatavalt väärika ja muinasjutulise ruumimulje tekitamine. Kerge muidugi mitte teostatavuselt, vaid kaalult. Kullakarva värvitoon põrandal ja volditud pilv lae all sobib ruumi nimetusega, samuti on vihjed sakraalsusele täiesti loetavad, eriti vaadates lage ja aknaid. valguse peegeldumine põrandalt, samas neeldumine seintelt teeb väikese ruumi visuaalselt natuke suuremaks ja loob mulje nagu kõnniksid tõelises kullakoopas!

Reio Avaste, arhitekt ja fotograaf

Põhiplaan, lõige Floor plan, section

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Tartu toomkirik kui Vana-Liivimaa silmapaistvaim tellisgootika näide seisis 16. sajandi lõpust varemeis. Kuidas kasutada gooti katedraali tänasel päeval ning millist ruumipotentsiaali omaaegne sakraalne ruum endas peidab, on seal saanud aegade jooksul kogeda nii ülikooli raamatukoguna, ajaloomuuseumina kui ka vastse varakambrina tegutsedes.

Mis on selle ruumi tekkelugu ja kuidas see alguse sai? Margit Aule (MA): Tartu Ülikooli ajaloo muuseumis asub Tartu Ülikooli varakamber, kus saab tutvuda valikuga ülikooli väärtuslikematest varadest. Sealt leiab seni harva eksponeeritud või lausa esmakordselt välja toodud haruldusi, mis kõnelevad ülikooli ideest ja vaimust.

Milline oli lähteülesanne? Margit Argus (MA): Ülesanne oli luua Tartu Ülikooli varakamber, mis oleks niisama väärikas kui ka kaasaegne nagu ülikool ise. oluline lähtepunkt oli ka see, et pea iga ese tuleb eksponeerida eraldi vitriinkapis.

Mis on selle omanäolise ruumilahenduse inspireerinud, kuivõrd on sakraalne ehitis seda mõjutanud? MA: Ekspositsioon asub keskaegse kiriku varemetes, mis on 20. sajandi esimeses pooles vahelagede lisamisega osaliselt siseruumiks muudetud. Nii on teravkaared ruumis keskaegsed, kuid lagi ja põrand kaasaegsed. Selliselt tekkinud madalat ruumi muutsime aga ripplae lisamisega julgelt veelgi madalamaks. Kujundusega on püütud luua aardekambri meeleolu, ruumid on muudetud kuldse ripplae ja vitriinide abil salapärasteks, hubasteks ja leide täis kambriteks. Museaalid on laest rippuvates vitriinkappides, millest tekib ruumis kerge hõljumise tunne. Kuldsele laele sekundeerivad mustad seinad ja hämar, salapärane valguslahendus. Põrandat kaunistab temaatiline graafika: Tartu Ülikooliga seotud teadlaste tsitaadid ajastuomastes šriftides.

Kuidas on inimesed selle maja/ruumi vastu võtnud? MA: Vanematele „kundedele“ on kindlasti üllatav, et nii väike kogus eksponaate on välja pandud. Kuid tagasiside on valdavalt positiivne: tegemist on omanäolise ideelahendusega Eestis. olime seekord ise ka teostajad ja oleme tulemusega rahul. Kultuurkapitali sisearhitektuuri aastapreemia räägib seda keelt, et ka teiste arvates on asi õnnestunud.

see kujundus lähtub niisugusest vanaaegsest varakambri kulla ja karra ja kullassepatöö ja kõige sellega seostuvast arusaamast, aga neil on seal mingisugust nõukogudeaegset „nodi” ka. Ja kui sul on veel see meeletu kulda võimendav lagi ja mingi nõukogudeaegne triviaalia, siis selle puhul on ta lihtsalt kohatu.

Mart Kalm, arhitektuuriloolane

Tartu’s Cathedral is the most outstanding example of backstein Gothic architecture in Old Livonia and has stood in ruins since the end of the 16th century. Its operation through the years as the university’s library, a history museum and now as the university’s new treasure chamber has provided experience in what it is like to use a Gothic cathedral nowadays and what kind of spatial potential the former sacral space conceals within itself.

How did this space come about and where did it start? Margit Aule (MA): The University of Tartu Treasury is located in the University of Tartu Museum of History. A selection of the university’s most valuable treasures can be seen there. Rarities that tell of the idea and spirit of the university and are rarely displayed or are even exhibited for the very first time can be found there.

What was your original task? Margit Argus (MA): Our task was to create a treasury for the University of Tartu that would be as decorous as it is contemporary, like the university itself. The fact that practically each article has to be exhibited in a separate display case was also an important point of departure.

What inspired this distinctive spatial solution; to what extent has the sacral building affected it? MA: The exposition is located in the ruins of a medieval church that has partially been converted into interior space in the first half of the 20th century through the addition of inserted ceilings. Thus the pointed arches in the room are medieval but the ceiling and floor are contemporary. We boldly made the low ceiling in this room that had thus been brought about even lower with the addition of a suspended ceiling. We tried to create the mood of a treasure chamber through the design. The rooms have been turned into mysterious, cosy chambers filled with discoveries using the golden suspended ceiling and the display cases. The museum articles are in displayed cases that hang from the ceiling. This creates a light feeling of floating in the room. Black walls and dim, mysterious lighting second the golden ceiling. Thematic graphics adorn the floor: quotes from scholars associated with the University of Tartu in type that is typical of the corresponding era.

How have people received this building/room? MA: Older “customers” will no doubt be surprised to see that such a small quantity of exhibits have been displayed. Yet feedback is for the most part positive: this is a distinctive implementation of an idea in Estonia. This time we were also the ones to implement the idea and we are satisfied with the result. The Estonian Cultural Endowment annual award for interior architecture is another indication that this undertaking is a success in the opinion of others as well.

hea näide, kus on hästi efektne sisekujundus tehtud, nii et neid eksponaate polegi sinna enam vaja. seda sorti kujundus, kus on selgelt loetav struktuuriloogika, iseküsimus, kui huvitavad need eksponaadid on ja kui palju viitsida neid vaadata ja kas sa leiad näituse ülesehitusest mingit kontseptsiooni. Mulle täitsa meeldis, aga sellist asja ei saa palju teha.

Leele Välja, arhitektuuriloolane

The creation of a surprisingly decorous and fairytale-like spatial impression using light structures in the treasury left a lasting impression. Of course, this means light in terms of weight, not ease in terms of practicability. The golden-coloured tone of the floor and the folded cloud at the ceiling fit in with the name of the room, while at the same time, references to sacredness can be clearly distinguished, especially when looking at the ceiling and windows. The reflection of light from the floor and at the same time, its absorption by the walls makes the small room slightly larger visually and creates the impression that you really are walking in a cave of gold!

Reio Avaste, architect and photographer

This is a good example of where a very impressive interior design has been implemented so that those exhibits are not even needed there anymore. The kind of design where the logic of the structure is clearly discernible. How interesting those exhibits are and how much one can be bothered to view them and whether you can find some kind of concept in how the exhibition is set up is another question entirely. I really liked it, but you can’t do this kind of thing very often.

Leele Välja, historian of architecture

This design is based on a kind of antiquated notion of the gold and tinsel and goldsmith’s work of a treasury and everything associated with it but they also have some sort of Soviet era odds and ends there as well. And then when you have this ceiling that inordinately amplifies the gold and some sort of trivial items from the Soviet era, then in this case it is simply inappropriate.

Mart Kalm, historian of architecture