Architecture of Estonia

The architectural history of Estonia mainly reflects its contemporary development in northern Europe. Worth mentioning is especially the architectural ensemble that makes out the medieval old town of Tallinn, which is on the UNESCO World Heritage List. In addition, the country has several unique, more or less preserved hill forts dating from pre-Christian times, a large number of still intact medieval castles and churches, while the countryside is still shaped by the presence of a vast number of manor houses from earlier centuries.

History

Ancient Estonia
Before the 13th century, strongholds were built on the Estonian territory, which could also be done on natural hills (city hill). For example, Varbola’s fortress dates back to this time

A distinguishing feature of early Estonian architecture are the many strongholds and hill-forts found throughout the country, for example Varbola Stronghold. The more important of these, which could cover an area up to 1,000 square metres (11,000 sq ft) and were located at important crossroads, eventually developed into commercial hubs, like Tallinn, Tartu and Otepää.

Gothic architecture
Gothic architecture was established in Estonia some decades after the subjection of the local territories to the cross, or about 1250-1280. years. At the end of the 13th century, the Gothic architectural technique finally won the romance style here, and was in use until 1520-1540. the years when he gradually began to retreat before the Renaissance. Practically all medieval churches, strongholds and other buildings of Estonia are built using the Gothic style of the stroke.

The crusaders also left their mark on the country by erecting a large number of castles as a means to gain military and administrative control over the country. Both large castle complexes, called order castles after the Teutonic and other crusading orders that erected them, and smaller, local fortifications not intended for major military actions (known locally as ‘vassal castles’) were erected. Good examples of larger castles still extant include Hermann castle in Narva, Toompea castle in Tallinn and Kuressaare castle on Saaremaa. Of smaller castles, Purtse castle, Kiiu tower and Vao tower still exist today. Many of the castles erected during the Middle Ages were destroyed in later wars, and Estonia is abundant in castle ruins.

The expansion and development of Estonian cities like Tallinn and Narva into Hanseatic cities during the Middle Ages also fuelled the development of civic architecture. Burgher’s houses with gabled fronts, a large front hall with a fireplace and a smaller living room at the rear became popular; the style became known as ‘Tallinn Gothic’ and taken up by builders in Finland, Sweden and Novgorod. Other still existing medieval civic buildings testify to the importance of Tallinn as an important trading city; Tallinn Town Hall is today an important historical landmark, as is the Raeapteek (town hall pharmacy) and the buildings of the former guilds in Tallinn, i.e. the Great Guild (1410), St. Olaf’s Guild (1422) and the later Brotherhood of Blackheads (c. 1597). The extraordinarily well-preserved city wall of Tallinn is also from this period. All in all, the old town of Tallinn is one of the world’s best preserved medieval architectural ensembles, and is listed as one of UNESCO’s World Heritage Sites since 1997.

In Northern Estonia, the Gothic origin was slightly simpler and more massive compared to Western Europe. Large windows, air curtains, basements, exterior support and other elements were either not used or rarely used. Even in the south-eastern building area, the buildings of that time were often quite massive (for example, Tartu Jaani Church and Dome Church).

Gothicism arose in Estonia, as a neo-gothic (pseudo-gothic), again in the 19th century. The earliest examples of the new gothic are the magnificent examples of Keila-Joa Manor, designed in the 1830s by the Oleviste Church in Tallinn, reconstructed from the ruins in 1830, and by Andreas (Andrei) Stackenschneider in the 1830s. At the same time, elements of neo-gothic-based neo-gothic elements were used in the buildings of some manors until the end of the 18th century. At the end of the 19th century, during the splendor of historicism, the style of the NewGooth in Estonian architecture was quite commonly used alongside other new styles. In the first decade of the 20th century, the style was fading, remaining somewhat usable only in sacred architecture (especially in the reconstruction of old churches).

Baroque and Rococo
In the Estonian architecture, the Baroque was popular from about 1640-1650. from the years to the end of the 18th century. The Baroque of the 17th century was a fairly simple Baroque from the Netherlands, which spread to Sweden through here. The baroque and the most lush form of rococo in the Estonian architecture were not substantially entrenched in Italy (and, in part, also in Germany).

Ever since the Northern crusades and the establishment of the German-speaking Baltic nobility as the landowning class, the countryside of Estonia had been characterised by the manorial system enforced by the upper classes. From the baroque and onwards, many manor houses survive and contribute to the architectural heritage of Estonia. The countryside of Estonia retains around 2000 historic manors, many in the baroque and rococo styles, e.g. Saue, Palmse or Vääna manors, but also representing a range of styles from Neo-Baroque and neo-Classicist to Tudor.

Baroque therapies:

Kadrioru Castle
Laupa Manor
Palmse Manor

Classicism
Period from about 1770 to 1790. The years can be regarded as pre-classicalism in Estonia, where the elements of classicalism were mostly used in conjunction with baroque ones. The period from about 1800 to 1830 (partly in 1840) can be considered a period of high classicalism, in which baroque forms were already abandoned in most parts. This is followed by the period of so-called post-Classicism, in which the elements of classicalism that were still still used in the pre-historic rule, or (more rarely), were still built on the basis of classical rules. Since the beginning of the 20th century, the so-called new / neo- or pseudo-classicism, the height of which was in Estonia between 1940 and 1950, is spoken. years (sometimes referred to as Stalinist architecture).

The center of preserved neo-Classicist architecture is Tartu, the Town Hall and surrounding buildings from the 18th century. The main building of the University of Tartu (1803–09) is an example of High Classicism. Manor house architecture continue to dominate the countryside, with manors such as Saku, Kuremaa and Suure-Kõpu exemplifying the style. Some notable residences were also built in Tallinn, e.g. Stenbock House and the building on Kohtu street 8 (architect Carl Ludvig Engel, today housing the Estonian Chancellor of Justice), both on Toompea hill.

Late-19th-century architecture
As in the rest of Europe, the late 19th century was a time of architectural experimentation of styles in Estonia. Different types of historicism and eclecticism became common. Neo-Gothic became a popular style, not least among manor houses, as can be seen in Alatskivi or Sangaste manors.

At the end of the period, Art Nouveau influences reached Estonia. Major sources of inspiration came were partly the vibrant Art Nouveau scene in Riga and partly Finnish national romanticism. Perhaps the most well-known architect who worked in Art Nouveau style in Estonia was Jacques Rosenbaum.

The Alexander Nevsky Cathedral in Tallinn is an example of Russian Revival style from the 19th century when Estonia was a governorate of the Russian Empire.

20th century
In the 20th century, a large part of the Estonian architecture was evolved today. The development of this century was largely influenced by the development of industry and technology. New building types and construction materials were created. In the early part of the century, when the agrarian society was still dominant in Estonia, after a few decades, the Soviet ideologue had a change that was to break the gap between the city and the land. Industrialization started. Leele Välja and Epp Lankots, curators of the exhibition “100 Steps through the 20th Century Estonian Architecture”, have written that this century “is voluminous and multi-layered, trying to summarize it in any form, the choice always remains somewhat arbitrary and subjective. ” Therefore, with this article, it must also be borne in mind that there are always alternatives besides the mainstream, and the examples given are just a small part of the reality of the architecture.

Sillamäe city centre in its entirety is a noteworthy example of Stalinist architecture in Estonia.

Czarist
The area of Estonia belonged to the Tsar-Russia in the early 20th century, which used this area mainly as a production site. This means that housing is not meant to be so much quality as depositing money. Mainly one-double-deck wooden console workers were established. There was a two-storey type of work-shop, where for fire safety purposes, instead of the previous one, a wooden house was started. In 1908-1914, about 30 stone buildings appeared in Tallinn, but this did not affect the city’s image. Tallinn was the fastest developed city in Estonia, where several military units were built and a high level of marine stability. The Russian-Baltic shipyard complex on the Kopli peninsula in Tallinn was unevenly comprehensive in terms of its design. Architecturally, the harbors of the Miinayama harbor aircraft were built as part of the maritime security of Peter the Great.

The Baltic Germans who graduated from the Polytechnic Institute of Riga, and some Russian engineers and technicians were mainly active in the Czarist era in Estonia. Work was begun by the first Estonian civil engineers. Many architectural competitions were arranged, mostly by architects from nearby major architectural centers (Helsinki, St. Petersburg and Riga). Orders were submitted by the Russian kroon, Germans and Estonians. Each of them had a different architectural vision as a contracting authority, and the creation of the architects was very diverse. The architecture that dominated the early 20th century was the most diverse of the times.

The Baltic Gentiles were pleased with historicism, emphasizing the Hanseatic city brick building, and neo-Romanism. They were also hit by a romantic wave.
Pärnu German Girls’ Gymnasium, Riga Architect Wilhelm Bockslaff 1906) (historicist building, brick gothic)
Adam’s Bank in Tallinn (Estonia pst 11, 1902-04) (historicism)
Höppener and Co Pank (Harju 9, 1908-09) (neomanerism)
Scheel’s Bank in Tallinn (Old Market 2, 1903-04), architect W. Neumann with E. von Nottbeck
Nikolai von Glehn’s New Maiden Castle in Mustamäe (now renamed to Tallinn University of Technology)

Elements of Art Nouveau style came to Estonian territories:
Long 18 (now Dragon Gallery, 1909-10), Baltic German architect J. Rosenbaum (Art Academy faculty)
Tõnismägi 5a (1908-09), architect A. Hoyningen-Huene (art historian with national romanticism)
Ammende Wool in Pärnu (Mere pst 7, 1904-05), St. Petersburg Bureau F. Mieritz and I. Gerassimov (Junior)

The beginning of Estonian architecture is considered to be the House of Estonian Students Society in Tartu, designed by Georg Hellat from 1901-1902. This was the first time a Estonian company ordered an Estonian house. However, there is no Estonian interest, which would probably be much more awaited. New gothic, artisanal, national romanticism is mixed with styles, and is also used for a wide variety of American premieres. In the first decade of the century, a whole group of Estonian engineers, G. Hellat, V. Lender, A. Uesson, F. Kangro, K. Jürgenson and others, who during the time of Estonia, could already be transferred to the administrative work as homeowners in Estonia, was formed in the first decade of the century. The first real player in Estonia was Karl Burman.

The Estonians were looking for example, primarily from neighbors in Finland. However, only one and not the final one could be done by orders from Finland. For this purpose, the club of furniture and plywood factory workers was located on the Vana-Lõuna street in Tallinn (1904-1905), which was the project of the Gesell-Lingren-Saarese joint bureau. The traditions of Nordic national romanticism were also found in the architecture of the Germans, and in the turn of the century, the enthusiasm of national romanticism in Russia.
Vanemuine in Tartu, A. Lindgren in 1906 (ruined, Art Nouveau)
“Estonia” in Tallinn, A. Lindgren and W. Lönn (1913)
Tallinn’s German Theater (now the Estonian Drama Theater), St. Petersburg architect A. Bubr, and N. Vassiljev (Junior)
Luther’s villa in Tallinn, A. Bubr and N. Vassiljev (Pärnu Road 67, 1910) (national romanticism)
Taagepera Manor (1907-12) In Valga County, the architect of Riga, the Germans Otto Wildau (Finno-Ugric national romanticism)
Holdre Manor, O. Wildau (1910)
E.C. Saarinen won the competition for the Tallinn Commercial Credit and Residential Club 1911 (Pärnu mnt 10, one of the first houses with a lift in Tallinn)
Paul’s Church in Tartu, E. Saarinen, 1911-1919 (unfinished)
F. Akel’s tenement house in Tallinn, Roosikrantsi 10, architect A. Lindgren (Art Nouveau classic)
Tallinn City Girls’ Commercial Gymnasium building Estoni pst 10 (current English college, 1912-16) St. Petersburg architect A. Rosenberg and Baltic-German E. Jacoby
Riga-Russian Commercial Bank on the branch of Karja Street (engineer A. Jaron, 1911-12)
Rental house on Pagari Street (H. Schmidt, 1911-12)
The building of the Institute of Zoology and Geology of the University of Tartu on Aia Street (O. Hoffmann, 1912-15)
K. Mauritza’s House in Tallinn Kreutzwald 12, K. Burman (1912)
A. Busch House in Tallinn Tatari 21b, K. Burman (1912)
Housing in Tallinn Raua 39, K. Burman (1913)
Homes in Tallinn Viru 4, K. Burman and A. Perna (1914)

Estonian time
Estonia was proclaimed an independent democratic state in 1918. The initial economic burden fell in the 1930s when it was aimed at promoting agriculture. Land reform resulted in a large number of settlement settlements. Several international architectural competitions were held in the 1920s as local architects were not distributed. But in the 1930s the local works were mostly performed by local architects. The architects who worked in Estonia at the time share the historic historian Mart Kalm conditionally in three: the architects who acquired education in Riga or the group who studied abroad in the 1920s and the third generation of pedagogues from the Tallinn Technical University founded in 1918. Rhine is mostly born in the 1880s. Many of them graduated from Tallinn’s Realegal School, followed by the Riga Polytechnic Institute founded in 1862. Riga was the center of the Baltic German culture and its architecture was dominated by German influences. For lecturers, for example, Wilhelm von Stryk, Otto Hoffmann, Eduard Kuppfer, Heinrich Pirang, Eizen Laube et al. In 1905, many of them later moved to German technical universities, some of them later returning to Riga and graduating from school. Worked for some time under other architects. Many rivals came to their homeland during the War of Independence, ready to build a republic. The architecture of this generation was designed in the 1920s and many were still the leading figures in functionalism in the 1930s. The members of the Riyadh were E. Habermann, E. Kühnert, H. Johanson, E. Jacoby, A. Perna, A. Soans, K. Tarvas, and others.

The German Germanic tradition fell in time with the Russian and outdated academies, which was dominated by a small part of the architects who had studied in Russia (K. Burman, P. Mielberg, A. Poleštšuk, T. Mihkelson)

The Tallinn Tehnikum, founded in 1918, was not initially developed and the precarious status did not cause a great deal of enthusiasm among local architectural interest enthusiasts. They mainly went to the universities of Central Europe. In the 1920s, the local Technical College, a national educational institution, which was able to learn as technicians, but also as engineers and architects, became a reality. However, the school did not have its own large large building and the shortage of funds led to the closure of school in 1936. A total of 33 active designers (R. Natus, A. Esop, A. Volberg, etc.) graduated from the school, but they were later active architects who remained semi-educated (E. Velbri, A. Väli, I. Laasi, etc.).

In 1921, 15 architects founded the Estonian Society of Architects (EAÜ), headed by Eugen Habermann. The aim was to improve the construction law, to raise awareness of the client and to clarify the architectural value of Estonian society; participated in nationwide exhibition fairs; The Building Manual (1932) and the “The Architectural Almanac of Estonia” (1934) were written. In 1925, the Heritage Conservation Act was adopted, which kept more of an architectural heritage than before.

The Riigikogu building in the courtyard of the Toompea castle (1920-1922) Herbert Johanson, Eugen Habermann (The First National Building of the Republic of Estonia, 1920’s Traditionalism and Expressionism)
Renovation of the Niguliste Congregation House in Tallinn Pikk 10 (1922) Ernst Gustav Kühnert
New buildings built by the old town: Artur Perna Pikk 10 (1922-1923) and Jegorov’s house (1924), O. Moeller, Anton Lembit Soans, Georg Hellat Pikk 36 (1921, 1924-1925), functionalist Herbert Johanson and A. Tõnisson industrial building Rüütli 28 / 30 (1932) and Eugen Habermann Voorimäe 9 (1936).

In the 1920s, the prevailing style was traditionalism, which contrasted with previous war tales and valued home, coziness, sense of security, craftsmanship and traditions. However, alternatives were also found.

Functionalism arrived in Estonia in the 1930s, which took a special look thanks to Olev Siinmaa in Pärnu (supellunktsionalism), and in Herbert Johanson, many functional buildings were raised in Tallinn. Functionalism has evolved into a distinct form of style, the signs of which were confirmed by master scientists Walter Gropius and Le Corbusier. These include a flat roof or roof tile, a lintel, a ground for posts, a free plan, and a screen facade. Functionalism is an architecture based on the needs of the modern person, which thinks about functionality and economics.

Functionalist school buildings were built in the 1930s: Lender Secondary School (Kreutzwaldi 25, Tallinn, arch. Herbert Johanson, 1933-35), French Lyceum (Hariduse St 3, Tallinn, arch. Herbert Johanson, 1935-37), Westholm Gymnasium (Kevade St. 8, Tallinn, architect Herbert Johanson and Arthur Jürvetson), Tehnikum in Tallinn (Pärnu mnt 57, 1938-40, arh Alar Kotli), National College (Narva mnt 25, arh Alar Kotli), and the first post-functionalist house was Lasnamäe Elementary School (Majaka Street 2, Tallinn, architect Herbert Johanson, 1932-36).

The President of Estonia, Konstantin Päts, refrained from favoring contemporary architecture in his political career. Constantine Päts, therefore, began to emphasize the prominence of buildings, relying on more general architectural traditions. Mart Kalm, architectural historian, has introduced the term ” representative-traditionalism “, which in the second half of the 1930s spread representative churchism in Estonia.

EKA House Vabaduse Square (Town Hall Building, 1929-1931) R. Natus
Jaan Urla down Pärnu Road 6 in Tallinn (1932-33) E. Habermas (Functionalism)
Tallinn Art Hall (1933-34) A. Soans, E. Kuusik (Functionalism, Representational Traditionism)
Olev Siinmaa House Rüütli 1a Pärt (1931-33) O. Siinmaa (Functionalism)
Residential Group on Raua Street 25-35 in Tallinn (1932-36) by A. Soans et al. (functionality)
Ehsa house building on the north side of Tallinn’s Vabaduse Square (1937) E. Lohk
The main building of Eesti Pank in Tallinn at the corner of Estonian Road and Kentmann (1935), engineer F. Adoff and architects H. Johanson and E. Habermann
Tartu House of Eesti Pank (1936) A. Matteus and K. Burman (Representative Traditionism)
Võru Bank Building (1938) EJ Kuusik and A. Soans (Representative Traditionism)
Office of the President Kadriorg (1938) A. Kotli (representational radicalism)
Pärnu House of Eesti Pank (1938-42) A. Kotli and A. Soans (Representative Traditionism)
Westholm Gymnasium in Kevade Street in Tallinn (1940) H. Johanson and A. Jürvetson (Functionalism)

Soviet time in Estonia
In 1940, socialist reorganizations that the Soviet Union brought with them began. The new authorities wanted to establish themselves as a state of workers, taking care, in particular, of the lives of ordinary people. Several Baltic Germans left Estonia (E. Jacoby, E. Kühnert, K. Bölau, R. Natus, etc.). The buildings that were left intact were completed, in order to make the living space for the military.

The first year under the Soviet power was the large construction of folk dwellings, which gave impetus to the preparations for the construction of small apartments at least at the end of Estonia. On the basis of the design of the Ra-Ko (folk dwelling), designed by architect Alar Kotli, houses were built, for example, at Lai, Wheat and Rukki, Majaka and Sikupilli streets in Tallinn. These are the further developments of the Tallinn House, in which there were no basements and roof apartments, and in each apartment there is a personal bathroom instead of a shower in the common basement. The stone repair works on the façade only reveals the framework surrounding the staircase, and the house has a simple roof top and a low roof. Even after the war, however, even the old-fashioned houses of Tallinn were erected (1949 in Lasnamäe, Kiev, Pr. E. Lepner). In the Second World War, the occupied Soviet Union began to rename its streets and sovettize Estonian architecture. However, architects were taught socialist realism, but by default, the peculiar nature of representative radicalism continued. The structural direction of this time was social. Old-age homes, orphanages, workbenches and community centers were established.

From 1941 to 1944, German occupation took place, which passed into the hands of Estonian architects quite inaccurately. The works were directed by Ernst Gustav Kühnert, who came back to Estonia, and Alar Kotli, F. Wendach, Anton Lembit Soans, August Volberg, Edgar Velbri, and others. Mostly old houses were restored and work stopped was completed. In 1944, the Soviet Army took the direction of Estonia. Many here architects fled elsewhere (Herbert Johanson, Olev Siinmaa, Elmar Lohk, Ernst Kesa, Roman Koolmar, Arthur Jürvetson, etc.). The wars of Estonian architects remained very small. Those who had been in the Red Army or in the Soviet rear were more likely to become more successful. Many Russian Estonians and Russians also came here. The most famous of them, for example, are G. Shumovsky, O. Ljalin, I. Raiski and J. Russanov. Mart Kalm, the second half of the 1940s, mentions liberal Stalinism for the period when architecture was based on the 1930s representationist traditionist experience.

In the 1950s, young architects graduating from the Polytechnic Institute of Tallinn also began to look. More than 100 architects from the five flights form the bearer of Estonian designers until the 1970s. In 1951, the State Institute of the Arts of the Estonian SSR was opened as an architectural area. There were no major changes in the teaching of architecture, as many of the teaching staff of the Institute came there. During the Soviet era, there was an architectural science that the state favored with jobs.

The period of Stalinism that lasted until 1955 did not change the Estonian architecture very radically. The principle of “national, socially-socialist” form in the Soviet Union was expressed in Estonian architecture only in buildings with decorative facade facades and in communal buildings with classical semisports. The Stalinist city center was completely developed only in Pärnu (Pärnu region). Tartu suffered a great deal during the war and remained undeveloped for decades. During the Stalinist period, the projects were resolved collectively, which was highly favored. P. Tarvas, together with architects Harald Arman and August Volberg, designed the Pavilion of the Estonian SSR in Moscow to the All-Union Exhibition of National Expenditure (1949-1954). M. Plees, B. Tomberg and M. Oselein-Laul were responsible for interior design. The Baltic pavilions were close together. Returning to Estonia, P. Tarvas and August Volberg started cinema Sõpruse project, where the interior designer M. Laul also helped. A sign of pure Stalinist architecture is the Marine Boulevard, the 1954 Royal Naval Officer House built by the former Grand Marina cinematographer, written by A. Kuznetsov. Estonia’s most diverse Russian-speaking outlying city is Sillamäe, with a population of 20,000 inhabitants, which until 1990 only got special permits.

The construction of a dwelling as a favoring manifestation of private property was, in principle, contrary to Soviet ideology. The individual home came to Estonia only after the Soviet era. Generally traditionalistic, but controversially intimate. The state provided a small plot for free, providing long-term loans. Khrushchev’s time (molten) led to a decline in the value of architecture. The work of architects did not change much, because energy was more than designing for co-ordination and self-assertion. It was the time when the war was ten years and the building of public buildings was erected next to residential buildings.

1970s-1980s In years, the boom in building new buildings took place in collective farms-state buildings. The buildings set up attractive administrative buildings and a cultural building in their centers, and in the mid-1970s, Olympic buildings started to emerge in Tallinn. In Tallinn, Tartu, Pärnu, Viljandi and Narva, large-scale paneled luminaries were set up, while at the same time attempts were made to encourage co-operative and individual construction to attract new workers in the countryside. 1970-1980. The Soviet architecture of the years had two faces, these were the decades of democratization, during which time ways were sought to respond to the demands and desires of the people of New West (in those years, there was a critical dialogue between critical architecture and the public), while at the same time were the decades of privatization and depopulation, during which they were born apart from the massive individual construction (supported by specially for the farms), numerous bathhouses for the authorities trying to overpower each other, party houses and government elite summer houses, and apartment buildings with a special project as a kind of ghostly objects, where knowledge of western luxury was mixed with local lifestyles and business practices. By 1973, the main part of Tallinn Mustamäe was built, and in the same year the Tartu Annelinna (project 1969, Mart Port, Malle Meelak, Ines Jaagus), which at that time were intended for 50,000 inhabitants, was built and the small- Õismäe (project 1968, Mart Port, Malle Meelak, Inessa Põldma, Kalju Luts). In the middle of the decade, Viljandi Männimäe (Mart Port, Malle Meelak, Ene Aurik), the large Lasnamäe (Mart Port, Malle Meelak, Irina Raud, Oleg Zemtšugov) and the district of Pärnu Mai (now the beach) in the beginning of the 1980s (Paul Aarmann, Maimu Palm).

Project for the Restoration and Extension of Estonia (1945) by Alar Kotli
The Institute of the Academy of Sciences building in Tallinn (1953) Enn Kaar
People’s Commissariat of Oil Shale and Chemical Industry, Tallinn 29 Gonsior (1950) Peeter Tarvas and H. Karro
In the corner of the Old Town of Tallinn, Kullassepa and Niguliste (1953) I. Laas
Railroad Hospital in Eha Street in Tallinn (1946) Nikolai Kusmin
Residences in Tallinn on Vase Street (1946-1050) Boris Chernov
The Kalev Yacht Club in Pirita, Tallinn (1949), Peeter Tarvas
Keila Culture House (1956) Arnold Matteus
Tallinn Mechanical Engineering Academy (1953) H. Serlin
Kohtla-Järve Võidu pst (Keskalee, 1956) Lengorstroi project architects
Narva-Jõesuu Holiday Farm, Kolkhoz (1954-1061) Nikolai Kusmin and Manivald Noor
Pühajärv Cafe-Restaurant (1961) Mai Roosna
Tallinn Song Festival Grounds (1960) Alar Kotli
Kalev Sports Hall in Tallinn (1962) Peeter Tarvas, Uno Tölpus, Olga Kontšjava, Valli Lember-Bogatkina and Johannes Fuks
The Central Committee of the Central Committee of the Land of Lenin (Rävala) pst 9 in Tallinn (1964-1968) Mart Port, Uno Tölpus, Olga Kontshajev, Raine Karp
Parnu sanatorium “Tervis” senior section (1966-1071) K. Vanaselja, Ell Väärtnõu
Tallinn Hotel “Viru” (1964-1072) H. Sepmann, Mart Port
Tallinn Hotel “Olümpia” (1974-1080) Toivo Kallas, R. Kersten
Tallinn City Hall (1975-1080) Raine Karp, R. Altmäe

New time in Estonia
The 1990s architecture was, of course, influenced by the political turnaround regime, the re-independence of Estonia, and the orientation of the spectacles towards the capitalist west. As Architect Triin Ojari writes, the architecture of the 1990s relates more to the understanding of the broader environmental potential of the specialist in a “cobblestone” environment that needs a “seamless environment” that is urgent in the modern European environment. This is confirmed by Mart Kalm: “In the 1920s and 1930s, the professionalism that was severely hampered by high-level work on construction issues was maintained thanks to the pressure system throughout the Soviet era, but from the late 1980s, demanding self-propagation was re-emerging.”

The 1990s are characterized by a complex relationship between the client and the architect, the prevailing attitude towards the architectural policy of society, the introduction of digital design tools, the Union of Architects lost support from the state, and the architects had to cope on their own. The Estonian Museum of Architecture was founded in 1991. When the economy began to rise quietly, the restoration activity, the construction of basements and roofs (many basements) were created and windows were replaced. The second half of the 1990s is also characterized by “brilliant business architecture”.

Government of the Republic of Estonia and the State Chancellery building in Toompea, Tallinn, architectural firm Kalle Rõõmus (2000)
Tallinn City Theater, architect Kalle Rõõmus (1999)
Linnamäe Schoolhouse in Läänemaa, architect Tiit Trummal (1999)
former Hansabank Main Building Project in Tallinn, architect Vilen Künnapu, Ain Padrik (1995, not performed)
Optiva Bank in Pärnu, architect Jüri Okas, Marin Lõoke (1999)
Nissan Center in Lasnamäe, Tallinn, arch Andres Siim, Hanno Kreis (1994)
former EVEA bank building in Liivalaia Street, Tallinn, Vilen Künnapu (1994-1098)
Gallery Cafe in Tallinn, architect Peep Jänes (1995)
Tornimäe House in Tallinn, arch Madis Eek (1997)
Emajõgi Business Center in Tartu, architect I. Vainu, T. Pakri (1998)
Hotel Bernhard Otepää, arch A. Lunge (1998, burned down)
Tallinna Golfiklubi Niitvälja, architect Mai Šein, J. Jaan Tiidemann (1998)
De la Gardie Department Store in the Old Town of Tallinn, arch Andres Alver, Tiit Trummal, T. Laht (1999)

Source From Wikipedia