TLÜ BALTI FILMI- jA MEEdIAKOOL

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

univErsity of tallinn baltic filM and MEdia school

aadress/address: autorid/authors:

arhitektid/architects: mööbel/furniture: tellija/client: ehitaja/builder: akustika/acoustics:

fotod/photos:

narva mnt 27, Tallinn Kadi Karmann, Ville Lausmäe (VLS) Salto AB Ville Lausmäe, Tõnis Kalve Tallinna Ülikool Skanska EMV Akukon

Martin Siplane, VLS

Must elegantne hoone peidab end kvartali embuses, see on üks kolmest uuest Tallinna Ülikooli õppehoonest. BFMi arhitektuurikonkurss jäi masu aega ja nagu ikka kaasnes sellega palju elevust, mis päädis õnnestumisega. Välis- ja siseruumi trepistikust on saanud loominguliste tudengite kohtumispaik.

Kuidas sellele majale läheneda? Ville Lausmäe (VL): Eks ta hoovimaja on, ametlikku sissepääsu ausalt öeldes ma ei teagi. Mina olen absoluutselt igast erinevast august sisse roninud.

Mis hoonega on tegu ja kuidas sai alguse koostöö arhitektiga? VL: Saltoga algas meie koostöö Paide Spordihallist, mis oli nii emotsionaalselt kui finantsiliselt äärmiselt keeruline objekt ja neid keerulisi objekte oleme omavahel ka jaganud. Meie liitusime seekord vahetult peale konkurssi ja võlu on see, et saad osaleda null-staadiumist – nii planeeringutes kui ka konstruktiivsetes otsustes – tiimi osana. Ideaalis nad muidugi näeksid, et see, kes teeb, töötab nende juures laua taga.

Kas oled koolimaju varem teinud ka? VL: Koolimaju ei ole, aga ma ei suhtunud sellesse kui koolimajja, tegu on ikkagi ülikooli ehk pigem toreda kohaga, kus olla. Ega neid klassiruume siin väga palju ei olegi – kaks auditooriumi ja paar pisikest seminariruumi. Mõte on selles, et see maja on tegelikult ju tootmishoone, siin toodetakse filme ja selle kõrval käib ka õppetöö. Siin on kaks suurt filmipaviljoni, helistuudiod, montaažiruum – nagu EKas on maaliklass. Siin on väga vähe klassikalist istumisruumi.

Kui palju projekt muutus peale konkurssi? VL: arhitektuurselt muutusid fassaadid. aga sisuliselt see kontseptsioon, mille paika panime, see on paigas.

Kuidas arenes välja kujunduskontseptsioon ja mis on teid inspireerinud? VL: Märksõnaks on aUS MaJa ja seetõttu on ta keerulisemaid objekte, mida ma üldse tean. Hakkasin pihta tootmishoone loogikast: see maja on tehnoloogiat paksult täis, kui seinad ära võtta, siis näeb see välja nagu Ida-Virumaal õlirafineerimisjaam, koosneb torudest ja konstruktsioonidest ja tehnikast, veelkord tehnikast. Sellel on samuti oma esteetika, siit tuligi kuskilt aususe teema: selle asemel, et tekitada lisana mingit ilu või ruumimõju – haarasime kõik siin majas nii või naa vajalikud elemendid ja kasutasime neid kujunduse loomisel. Loomulikult on helistuudios 100-kihiline sein, selleks et seal heli sees püsiks, kuid mingeid butafoorseid asju ei ole. Fuajees, mis on maja visiitkaart, on haaratud kujundusse teraskonstruktsioon, mis on hoopis teistsugune kui insenerimõte ette nägi. Ventilatsioon, jahutus, mis iganes, teenib eesmärki, et tekiks mingi miljöö.

Kas käisite ka mujal maailmas midagi vaatamas? VL: Käisime TaIKis korra, see on juba nii sisse elatud, vaatasime funktsionaalset poolt. Mul on Linnateatri aegadest kogemus, kui käisime teatriga Euroopa läbi omal ajal, mis oli väga hariv. avalikkusele nähtav on 1/3 teatrist, kõik muu on tootmine. See maja siin ei ole väga erinev teatritest.

Töömaht kujunes suuremaks, kui oskasid ette näha. VL: Ma ei osanud uneski kujutleda, et minu teha jääb stuudioseinte kihiti joonistamine, et see kõik töötaks. Nojah, aga täiesti võrratu tiim oli, kes selle maja püsti pani, siin ei ole kompromisse üldse. Elus esimest korda tundsin, et mul on uhke viibida sellises seltskonnas. Nutikas projektijuht, Tallinna Ülikooli esindaja, tegi juhina hästi õigeid otsuseid: palkas õige järelevalve, normaalse ehitaja, kes ei tulnud selleks kokku, et teha kompromisse. Nüüd elab maja oma elu ja ma ei tea rohkem ühtki objekti, mis oleks nii terviklikult valminud.

Kas kahju ei ole lahkuda objektilt, nagu oma laps juba? VL: Ei ole. avamisel on see šokk, et paljutki lõhutakse juba ära jne, aga tegelikult on äge, et ruumid saavad oma funktsiooni ja nad on elus – endalgi on huvitav näha, kuidas kulumise märgid tekivad.

sisearhitektuur on efektne, askeetlik ja kompaktne. seal on näha, et raha ei ole raisatud, tehtud kokkuhoiurežiimil, aga see on ausalt ehitatud, ei ole midagi peale kleebitud. sisearhitektuurne osa on hästi loogiline ja kõik see ruumiloogika on kohe loetav. väljast mõjub maja umbes viis korda suuremana, kui ta seest tegelikult on. Ehe, aus ja napp võrreldes teiste tallinna Ülikooli hoonetega. Üliõpilased küll kiruvad seda maapõhja, nemad ei mahu sinna lihtsalt ära. aga tunne on seal õudselt hea!

Krista Aren, disainer ja TLÜ dotsent

This elegant black building conceals itself in the embrace of the city block. It is one of three new University of Tallinn academic buildings. The BFM architectural competition was held during the economic downturn and as always, it was accompanied by a great deal of exhilaration, which culminated in success. The staircase for its exterior and interior space has become a meeting place for creative students.

How should this building be approached? Ville Lausmäe (VL): I guess it’s a courtyard building. To be honest, I don’t know that it has an official entrance. I’ve climbed in through absolutely every different opening.

What kind of building is this and how did the work with the architect begin? VL: We started working with Salto on the Paide Sports Arena, which was an extremely complicated object both emotionally and financially. We have also shared those complicated objects among ourselves. This time we joined immediately after the competition and the attraction was the fact that we could participate from ground zero up – in the planning process and in the construction decisions – as part of the team. They, of course, would ideally prefer that whoever takes care of this part of the project works at the table in their bureau.

Have you worked on school buildings before? VL: We haven’t worked on school buildings, but I didn’t relate to this building as a school building. This is, after all, a university, in other words more of a terrific place to be. There aren’t all that many classrooms here – two auditoriums and a couple of tiny seminar rooms. The idea is that this building is actually a production building. Films are produced here and teaching takes place alongside that. There are two large film pavilions here, sound studios, an editing room – like the painting classroom at the Estonian Academy of Arts. There is very little classical space for sitting here. To what degree did the project change after the competition? VL: Architecturally speaking, the façades changed. But in terms of content, the concept we settled on remains in place.

How did the design concept develop and what inspired you? VL: The key phrase is AUS MAJA (Honest building) and for this reason, it is one of the most complicated objects that I know of at all. I began with the logic of a production building: this building is chock full of technology. If you remove the walls, then it would look like an oil refinery plant in Eastern Viru County. It consists of pipes and structures and technical equipment, and more technical equipment. It also has its own aesthetics, and this is where the theme of honesty came from somewhere: instead of creating some sort of additional beauty of spatial effect – we included all the elements in this building that were necessary one way or another and used them in creating our design. Naturally the sound studio has a 100-layer wall to keep the sound in it, but nothing superfluous has been added. The steel structure of the foyer, which is the building’s calling card, is utilised in the design, and it is altogether different from what the engineering idea prescribed. Ventilation, cooling, whatever serves the purpose of creating some sort of atmosphere.

Did you go elsewhere in the world to see any examples? VL: We went to TAIK once. That’s already so familiar, we looked at its functional aspect. I have the experience from my time at Tallinn’s Town Theatre when we travelled throughout Europe with the theatre, which was very educational. One third of a theatre is visible to the public, the rest is production. This building here is not much different from theatre buildings.

The amount of work turned out to be larger than you could foresee. VL: I would never have imagined even in my dreams that drawing the studio walls layer by layer would be my job, that it all would work. The team that erected this building was beyond comparison. No compromises were made whatsoever. For the first time in my life, I felt proud to be in the company of that team. The clever project manager, the representative of the University of Tallinn, made very good decisions as manager: he hired the right construction supervisor, and a builder with a good attitude. The team did not come together to make compromises. Now the building is living its own life and I don’t know of a single other object that has been completed as such a complete whole.

Aren’t you sad to leave the object? It’s kind of like your own baby already. VL: No, I’m not. It’s a shock at the opening that lots is already being wrecked, and so on, but actually, it’s awesome that the rooms get their function and that they’re alive – it’s interesting to see how the marks of wear and tear emerge.

1. korruse plaan 5. korruse plaan Ground floor plan 4th floor plan

1m 5m

The interior architecture is impressive, ascetic and compact. You can see that money has not been wasted and it has been built frugally but honestly. Nothing superfluous has been pasted on it. The interior architectural part is very logical and all that spatial logic is immediately readable. Externally, the building appears to be about five times larger than it actually is on the inside. Genuine, honest and understated compared to other University of Tallinn buildings. University students totally revile it because it simply can’t accommodate them all. But the feeling there is awfully good!

Krista Aren, designer and University of Tallinn docent

1m 5m Lõige Section