The Methods of Analysis and Imagination graduation studio 2023-2024 focuses on A Matter of Scale, in the North-eastern European city of Tallinn. As we were free to synthesize an in-depth site-analysis of the city with our own fascinations, I decided on exploring the Estonian nightlife. I discovered that club culture was not embraced by the city’s regulations, but quite the opposite: it was pushed back. This inspired me to design a nightclub on a vacant industrial site, of which plenty is to be found in Tallinn. My choice fell upon the Balti Manufactory Quarter, a former cotton factory with its iconic chimney and monumental masonry. It’s industrial lay-out is on its way to be taken over by nature, and first plans to regenerate the area with conventional generic housing typologies are explored. My stance in this however, is to convert the site into a cultural center for the neighborhood. By clearly prioritizing culture over a strict residential use, I give back space to the sub-cultural community who loses their spaces to gentrified neighborhoods. Furthermore, by being a cultural center, the Quarter will become a catalyst for new forms of urban cultural development: in which living, working, and leisure coexist. The Quarter is fit to accommodate this, as it is imbedded in the urban fabric and well connected to Tallinn’s infrastructure. Other than that, there is enough distance between the complex and its surrounding residential neighborhood for nightlife to flourish, whilst the plot can function as a city park during the day. The nightclub is located in the former boiler room, a separate complex next to the old factory building. And just how the boiler room used to fuel the cotton factory, my nightclub will become the nocturnal heart of the new center for culture, creation, and living.

Tallinn’s largest district Lasnamäe is based on a specific ideology, leaving it after Estonia’s independence from the Soviet Union incapable of adapting to new societal developments. Today, Lasnamäe is still mainly composed of monotonous Soviet-modernist housing slabs and lacks public interior spaces.
Opposing this situation, the building takes occurring uncertainties strategically into account and embraces them to design for unforeseeable functions, needs, actors and changes in society; and intertwines different uses and user groups, acting as an initiator for citizen-driven events and projects.
To achieve this, the design strategy embraces the contrast between indeterminacy and determinacy, creating spaces that can be used freely, combined with structures that act supportive in a structural, functional, spatial and organisational way. The indetermined space leaves things open and understands the building as “pre-used”, being interpretable by its users with the potential to develop over time. The determined parts make the building site-specific, quote Tallinn’s built history and make it a characteristic artefact.

My graduation project explores the relationship between memories, perception, and Soviet-era architecture. The project site is the former "Turist" foreign currency shop in Tallinn, built for the 1980 Summer Olympics. As a Soviet-era building aimed at those with foreign currency, it symbolizes the inequalities of the Soviet regime.
Despite years of trials, the government has failed to secure heritage protection for the building. An architectural competition plans to replace it with a high-rise, which would cause a significant loss to architectural heritage and additionally intensify Tallinn’s existing issue of constructing without regard for urban context and human scale.

An alternative to the current demolition plan is proposed - preserving and transforming the Turist shop while honouring the past, present, and future. Memories and perception in architecture serve as a foundation for reimagining the space and for guiding the design proposal, transforming the former shop into an inviting community centre. The form, scale, proportions, materialization and detailing of the new extension contrast that of the communist monument, maintaining a balance that avoids overshadowing it. This is achieved through a composition characterized by rhythm, simplicity and a strategic interplay between closeness and openness. An atrium between the two buildings is the heart of the project, where the past and the present exist together.

This graduation project focuses on repurposing Tallinn’s abandoned Soviet-era Linnahall building, aiming to transform its deteriorated ice rink section into a vibrant market.
To align with Tallinn’s vision of creating a dynamic waterfront, the project reimagines the ice rink’s function to preserve its public and cultural significance. A market is proposed as an ideal new use, enhancing public access and cultural symbolism while revitalizing the area.
The renovation strategy includes enhancing the building’s openness and connectivity.
By combining wood with the original concrete and steel materials, the design will balance historical preservation with modern warmth, creating a welcoming market atmosphere. This project aims to set a precedent for Linnahall’s full restoration, turning it into a lively public space that enriches Tallinn’s coastal environment.

This project covers the revitalization of the former Volta Factory in Tallinn Estonia. This abandoned site or sleeping beauty holds lots of opportunity on many different local layers of the Kalamaja. Social, cultural, urban and many more detailed aspects are taken into account to create a Cultural Center with high quality leisure spaces for all kinds of activities. Walls are well over a meter thick and ten meters high. Two seventy meters long halls make up for a barrier that will be opened up in a Gordon Matta Clark fashion. Preserving the partition wall inside and connecting the two halls as well as the newly developed neighborhood and Plaza on one side and the waste land that will be turned into a community and botanical garden on the other side. The partition wall serves as a divider that pushes the users into a particular direction with the the help of a multifunctional circulation area. These areas are referred to as stress, passages and boulevards that form the infrastructure of the small city inside the building. One side houses sports and library program in combination with offices, study spaces and a restaurant. The other side will house a multifunctional event hall that looks out over the main street and the Bay of Tallinn. This part also houses a boxed-in theater and lounges. Both halls have been studied thoroughly and functions have been placed accordingly. The beauty of the repetitive limestone facade with its beautiful arched windows is preserved on both the inside and outside. Subtle interventions and detailing have made the building more future proof and accessible on many layers in the local and urban landscape.

Sealine is an ambitious architectural proposal in the coastal zone of Tallinn, Estonia. The design for a sailing school on the peninsula between the Linnahall and the Ferry Terminal establishes the connection between sea, city, nature (the coastal landscape) and sky. This connection is made in several ways, and has different forms: the buildings have direct contact with the water, are firmly anchored in the land, and there is a pavilion embraced by the sky. In addition, the design blends seamlessly with the existing urban structure.
The base of the sailing school is an elongated low volume (containing the boat storage, changing rooms and classroom) with a kink halfway up the volume and a nod toward the harbor. This base connects the Logi Street to the sea through the publicly accessible roof with wide stairs. On the east side, the volume is recessed into the mountainside and blends harmoniously into it; on the west side, the basement encloses a plaza with the boat docks and the façade rhythm mirrors the horizontally articulated Linnahall, but on its own smaller scale.
Halfway up the volume, is placed a pavilion that manifests itself strikingly in the coastal silhouette; its directional play and detailing make it appear to be detached from the ground. It is intended for the sailing school but can also function independently as an entertainment facility.
Both volumes are executed in concrete (sturdy in the sea climate sea) and wood (soft and human-sized, a local building material).
The design is a powerful, concrete example of how architecture, nature and human activities can reinforce each other.