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Tartu, Estonia

The Estonian Academy of Arts is the only public university in Estonia providing higher education in art, design, architecture, media, art history and conservation-restoration. It is based in Tallinn.According to the Statutes of the EAA, the main objective of activity at the Estonian Academy of Arts is to promote creativity and research, enabling the acquirement of a contemporary higher education based on integrated study, meeting the standard of higher education in the field of fine arts, design, media, architecture, art history, conservation-restoration and teacher education.With the Estonian Minister of Education and Research' Act no.145 from February 10, 2007, the EAA was accredited by an international expert committee as an institution.The Estonian Academy of Arts has signed around 80 bilateral agreements with universities which participate in ERASMUS programme, but has also partner institutions outside the ERASMUS higher education space – in Switzerland, USA, Russia, Australia and also with some private universities within the European Union. Wikipedia.


Mandel M.,Estonian Academy of Arts | Oiger K.,Tallinn University
Proceedings of the ICE - Engineering History and Heritage | Year: 2015

The roof of Tallinn seaplane hangars is among the first, remaining and still-preserved early large reinforced-concrete shells in the world. The hangars were constructed in 1916–1917 by the Danish company Christiani & Nielsen for Tsarist Russian military purposes. The roof consists of three 36·4 × 36·4m spherical thin reinforced-concrete shells and seven 36·4 × 6·8m short cylindrical shells attached to them. In 2010–2012, the seaplane hangars were completely renovated for the Estonian Maritime Museum. The high-quality conservation works received the Europa Nostra Grand Prix award in 2013. This study aims to give a comprehensive overview of the conservation process of the Tallinn seaplane hangars from a combined engineering and heritage protection perspective. The paper focuses on the conservation techniques and methods used and explains why and how such approaches were selected. The main findings of previous technical studies are presented to stress the critical technical condition of the hangars before the conservation process. A brief overview of the history of the building is also given, with an emphasis on the uniqueness of the Tallinn seaplane hangars in construction history. © ICE Publishing: All rights reserved. Source


Mandel M.,Estonian Academy of Arts
Proceedings of the 13th Docomomo International Conference Seoul: Expansion and Conflict, Seoul 2014 | Year: 2014

With the exception of unique modern masterpieces, standardized buildings and common mass-produced building materials of the postwar period are increasingly gaining conservators' interests. Conservation issues and conflicts associated with everyday materials are perhaps most distinctive in former Soviet states where a limited number of construction materials were available at the time and therefore became overused. Today these materials are often viewed negatively because they are too ordinary and are rarely considered to be subjects for conservation, which makes them especially vulnerable in terms of preservation. In many cases, common building materials are not significant enough and replacing them is an acceptable practice. However, there are still many exceptions. Current paper aims to define the most typical situations in which everyday construction materials should be valued but will more likely be ignored. The analysis is based on Estonian construction history, but the results could be universalized and applied in other contexts as well. The following cases are explained: -A building has great architectural value, and the building material, although ordinary, is a significant part of its aesthetics. -A material's poor reputation based on its overexploitation in the Soviet era unconsciously affects the conservation decisions on buildings of other periods. -Typical Soviet construction material turns out to be much older and thus acquires a completely new meaning. -An unusual, technologically experimental building material looks misleadingly similar to common materials. Dealing with common mass-produced materials is a new challenge for conservators, requiring not only comprehensive studies of everyday architecture but also an expanded understanding of conservation. Source


Arumagi E.,Tallinn University of Technology | Mandel M.,Estonian Academy of Arts | Kalamees T.,Tallinn University of Technology
Energy Procedia | Year: 2015

Proposed method concentrates on the junctions of structures that usually have strongest influence on visual character of the building. To gain energy savings, a major change of the influence occurs when external thermal insulation is considered without any changes in other parts of the building. Whole building renovation is preferred because all the different parts of the building can be taken into account and the energy savings are larger and overall influence on the architectural appearance is smaller. Energy performance of the historic wooden buildings can be improved significantly without negative influence on the architectural appearance and destroying the milieu value of the district. © 2015 The Authors. Source


Krivy M.,Estonian Academy of Arts
Footprint | Year: 2013

The Tallinn Architecture Biennale 'Recycling Socialism', held in September 2013, is reviewed in this paper. Key themes and contradictions that crystallised throughout the event are identified and analysed. Participatory approach and its shortcomings are discussed in relation to the Biennale's vision competition winning entry. What is the dual legacy of socialism and modernism for architectural and urban practices? The question is studied via the contrasting practices of raumlabor and DOGMA, two key participants in the Biennale's events. Whereas participation is a goal and an answer to modernist-Fordist city in raumlabor's practice, for DOGMA it is the starting point for interrogating post-Fordist city. Source


The article investigates the function of colour and greyness in relation to housing estates and panel buildings [panelaks] in Czechoslovakia. While the significance of chromatic symbolism to architectural discourse and practice has persisted between the 1970s and today, three different moments of relating colour to the panelak are identified. In late socialism, the discourse of grey registered the critique of the panelak voiced by architects and the nomenklatura. Simultaneously, future socialist alternatives were imagined in colour. Late-socialist desire for colour is interpreted in the context of a wider struggle to reform architectural industrialisation, revive the ideological function of architecture and rehabilitate the living environment of housing estates. In the 1990s the desire for colour surged, but it was geared to leaving socialism behind. The trope of greyness converged with a blanket dismissal of socialism. The article documents that in post-socialism architects gave up on the question, and the reality of housing estates and the process of applying colour to panelak facądes moved into the hands of home owners. Their vernacular use of colour had a double rationale: to differentiate one panelak from another and to dissimulate its form and tectonics. In the wake of the recent housing crisis architects took issue with these vernacular patterns. They denounced them as garish chaos and assumed the role of experts who would put this chaos in order. This is interpreted as the beginning of a new moment, in which the panelak is rediscovered as an object of cultural heritage while its social and political determinations are disregarded. © 2015 RIBA Enterprises. Source

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