This project proposes an architectural intervention at the Skåne Bastion in Tallinn, Estonia, a historically layered site at the junction of the old city and the dynamic Kalamaja district. The research identifies a dual problem: the site's current underutilisation as a public park and a documented socio-spatial deficiency for children aged 7-9, who lack dedicated spaces within the city. The design addresses this by creating a youth theatre, providing a necessary outlet for expression and play.

The design methodology is rooted in biophilic principles and an analysis of the site's unique historical context, including its past as a military fortification and its concealed Cold War bunker. This led to a core design concept based on the duality of 'impression' and 'expression'.

The proposal consists of two main elements. The existing bunker is adaptively reused for 'impression' spaces; workshops and exhibitions that connect visitors to the site’s deep history. Above, a new superstructure houses the main theatre, a soaring space for 'expression'. This new volume is constructed using earthbags with in-situ soil, a technique that materially links the architecture to the site's geology and layered past. Passive design strategies, including stack-effect ventilation towers and a deciduous vegetated roof for dynamic shading, ensure environmental responsiveness.

"The Stage of Being" transforms a site of historical conflict into a space for community and healing, offering a model for how architecture can foster a renewed relationship between a city's youth, its cultural heritage, and the natural environment.

Tallinn’s medieval city wall once stood as a powerful structure of defence. It was a strong threshold that divided inside from outside, us from them. While it played a vital role in shaping the city’s historic identity, its defensive purpose has long expired. Today, much of the wall sits idle, treated primarily as a visual relic or economic asset for tourism, rather than as an active part of daily life. This project seeks to challenge that condition by reimagining the wall as a living monument. The design hopes to respect the historical and collective value of the city wall while opening new possibilities for contemporary use.

Through a series of careful interventions in the walkway, towers, and neighbouring courtyard, the design rebuilds the relationship between the city and its wall. It introduces new programs that invite everyday interaction from locals, reconnects separated sides, and repurposes the defensive geometry as a framework for gathering, learning, and cohabitation. The architecture engages the existing wall not just as a backdrop, but as a structure to inhabit, reinterpret, and build upon. Interventions are designed as a response to the city wall in terms of its spatial arrangements, materiality, structural systems, and more. At its core, the project reverses the logic of fortification: from dividing to connecting, from repelling to inviting.

It asks —
Can a wall built to separate become a path that connects?

Synergy in Paradox is a proposal for a new ferry terminal in Tallinn.

The current terminal offers an underwhelming entrance; its infrastructure forms a border between the city and the coastline; and the typology shows similarities to that of a racetrack. These observations have been directly translated into objectives: A grand entrance to Tallinn; A walkable coast; and A temporary F1 track. These objectives form an apparent contradiction: A paradox.

Although, by implementing scale, sequence and system as operators for the design process, it has been possible to achieve these goals and have them reinforce each other: A synergy
Because of its large scale, an intermediary is implemented to bridge the gap between objectives, operators, and the actual design. This intermediary ensures that the project has its own character: A hexagonal transition zone between the orthogonal infrastructure and the dense city scape.

In summary, the project comprises a ferry terminal, an elevated park, and a temporary Formula 1 circuit, distinguished by a unique character achieved through the application of a hexagonal intermediary framework.

This project envisions the transformation of a former railway warehouse complex in Kopli, Tallinn, into a hybrid dynamic community facility. Drawing from the site’s industrial memory and the theoretical framework of Terrain Vague, the design reclaims the in-between condition of the post-industrial landscape and activates it with new spatial narratives.

The idea of Dynamic Space emerged from the need to create an adaptable framework rather than a fixed form. It is rooted in the belief that architecture should respond to changing community needs over time. By incorporating modular grids, movable walls, and overlapping programs, the space resists singular definition—allowing users to reshape its function and meaning through daily inhabitation, negotiation, and collective authorship.

The intervention consists of two main elements: the adaptive reuse of the historic brick warehouse and a new timber structure forming from the old grid. A modular system is applied in both—embedded gently in the old building as flexible programmatic “boxes” that respect and contrast the existing shell, and fully expressed in the new construction to allow community-driven spatial transformation.

The space serves as a community “living room,” hosting exhibitions, performances, co-working, and daycare. Architectural devices such as a diagonal ramp, double-height volumes, movable partitions, and suspended installations emphasize spatial flexibility, porosity, and layered engagement.

In Tallinn, Estonia, large-scale redevelopment of former industrial and residential areas is currently underway. In this process, the city’s historical layers are often overlooked, particularly the architectural heritage from the Soviet era. This graduation project explores how a neglected 1937 rahvamaja (culture house) in the Kopli-Liniid district can be reintegrated into Tallinn’s urban and cultural fabric. Once a hub of workers’ culture, the building has stood abandoned since Estonia’s independence in 1991 and now faces the threat of insensitive redevelopment.

This graduation project proposes to revalue Kopli 93 and its surroundings as a small-scale cultural park ensemble where past and future meet. By removing fences, introducing new pedestrian routes and demolishing later additions, the area becomes accessible again and reconnects to the surrounding neighborhoods. Alongside the restoration of the existing Kopli 93, which will regain its theatre, sports and community functions: a new music building is introduced. This transparent wooden volume acts as a mediator between the historic complex, the park, and the new residential area.

The program centers on music, theatre, and self-expression: a contemporary interpretation of the original social purpose. Music, a vital element of Estonian identity and collective memory (from Laulupidu to the Singing Revolution), forms the conceptual backbone of the project. Architecturally, the music building continues Tallinn’s wooden construction tradition and park architecture in glass and steel. Its structure consists of four CLT cores with glulam beams and a cantilevered top floor. Transparency, natural materials, and flexible interior layouts encourage dialogue between nature, heritage and contemporary culture.

Thus, Kopli 93 and its plot is transformed into a public, living, and meaningful part of the city, where cultural heritage becomes not an obstacle, but a catalyst for urban renewal.

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.

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.

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.

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.