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.

The project is an exploration in creating a connection, physically linking the city and sea and a spiritual threshold for the youth of Tallinn, revealing their interconnectedness with the environment. Through a series of revelations, the building becomes a religious experience, where the presence of sea is magnified and brought closer to man.

The project is situated between the vast and repurposed harbour industry area and the intimate scale of the Kalamaja neighbourhood. By introducing a building that serves the local community, it activates an area that was once detached from the urban tissue and dominated by tourism.

At the heart of the site lies a previously abandoned building, now repurposed as a public hub. A newly added circulation tower connects this core to the adjacent sports building and swimming pool.

The volume of the swimming pool is set lower to preserve visual and pedestrian connections to the sea, and to respect the presence of the existing building, whose prominent elevation once defined the site. On the opposite side, the sports hall asserts itself through a distinctive wooden exoskeleton. This expressive structure not only gives the building its character but also provides the necessary stability, allowing the sport hall and gym to remain fully open to connect with the surroundings.

A public, transparent ground floor opens up towards the entrance square, encouraging interaction before and after sporting. The building was designed with human scale in mind, guided by twelve key principles that shape spatial experience. Among them, depth, fragmentation, configuration, circulation, and transitions in scale played a crucial role in informing the design.

The Sport and Leisure Centre proposes a new way of embedding human scale into large-scale architecture. At the same time, it reconnects the site—both vertically and horizontally—to Tallinn’s urban fabric, activating the once detached area of the city

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?

Tallinn residents were promised a new commercial landmark on the most prominent site in their harbour in the form of a new retail shopping mall: The Porto Franco Development. But after years of delay, the city and its people are left with a colossal concrete structure, blocking direct viewing lines and impairing orientation within the harbour area. In response, the original concept of a retail shopping mall was radically reimagined: its architectural typology and characteristics were repurposed into a public mediatheque where instead of consumer goods, users now browse, test, and process information. A building that revitalizes the connection between the Harbour and the City centre of Tallinn and helps to cherish the arrival at the harbour of this Baltic capital.

In light of the current trend of redeveloping former industrial sites in Tallinn, this project aims to address the potential architectural quality and unique spatial experience of the industrial heritages, and to utilize these qualities for the improvement of public inclusiveness of the newly developed neighborhoods.

On the early stage of this project, an analysis of the current redeveloped neighborhoods in Tallinn was done, focusing on their building composition, public access, as well as specific architectural technique adopted to highlight the historic meanings. Besides, a study on this exact building in Krulli Kvartal is also done about its special architectural quality, which are the repetitions, regularity, extensive footprint as well as the currently inadequate climate protection.

By the interplay of these qualities, a vocational school on this site is designed, which provides the future neighborhood with several regular target users. Its required programs has also paved a path for the flexibility of the use of space by both students and public users.

This design consists of 3 main blocks of buildings, which from the left hand side of the floor plan respectively are conventional learning block, interactive learning block and public gymnasium block. By situating these blocks in a parallel order and respecting the existing building conditions, 3 public space are also formed, which are the warhouse garden (top), school atrium (bottom left) and public ramp plaza (bottom right).

In terms of building technologies, this project has played with the extent of climate and sound insulation to create a spectrum of publicness and privateness. For example, the double storey workshop space in inetractive learning block has adopted a passive climate insulation, which leads to an ambiguity between the inside and outside of school and favours the extension of the use of space to the outdoor public realm.

The sauna in Estonian culture is seen as a necessity of life, an instinct. It is the biggest social network in Estonia and the oldest. The sauna is a place where Estonian people meet, reconnect, and share on a physical and spiritual level. By being naked in this heat, one re-experiences its body, to reconnect the physical, mental, and spiritual relationship with one-self, others, and nature.

Whereas gentrification is on the rise in the Kopli area it is important to create spaces where local people can meet, socialize, relax and thrive in there neighborhood. To have a space where they feel connected with themselves, the sea, nature, and their surroundings. The chosen location near the sea has the possibility of connecting people and water. People need each other and nature to thrive.

The site-specific design of these four buildings allows the people of Tallinn to reconnect with themselves, each other, and nature in a mental, physical and spiritual way. The saunas and its buildings function as a place of sensorial reconnection, through materials, nature, and social facilities.

The proposal, titled “Forum for the Built Environment,” surged in response to the observed deficiency of physical spaces conducive to reflection, gatherings, and citizen participation in the city. It was prompted by Estonia’s post- independence trajectory characterised by a shift towards digitalisation. Its primary aim is to function as a platform for democratic dialogue among Tallinn’s citizens on matters of public interest within the domain of the built environment.

Consisting of four distinct buildings, each distinguished by unique architectural features, the project encapsulates the multifaceted essence of Tallinn. These architectural variances symbolise the diversity of perspectives and identities inherent within societal structures, embodying the principles of democracy. The primary objective of Forum for the Built Environment is to establish a neutral ground for open discourse while facilitating collaboration between the city planning office and citizens, ensuring continuous engagement and dialogue. Furthermore, the project is not only experienced within the buildings but also in its outside environment. The project functions as a pathway, crossing through a city block. People can wander off and walk past different architectures. In addition, the ruinous garden is positioned on the eastern side of the project, which offers a space of tranquillity for reflection.

Functionally, the four buildings serve specific programmatic purposes: a Forum space for exhibitions and discussions, an Office for the City Architect for input and opinion gathering, an Archive housing physical and digital materials for city history research, and a children’s day-care facility to support parental engagement in civic activities.

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 is an extension project for the radio building complex (Raadiomaja) in Tallinn as a multimedia studio providing both supplementary facilities for the staff and communal spaces for nearby residents. Through sensitive treatment of material, integrated design of sound, light, and nature, and principles of order and proportion, the project tried to provide an apolitical perspective for people to understand the monumental value in Raadiomaja and thereby Tallinn city. At the same time, it creates a warm and peaceful place where people can enjoy art, music, and social activities.

One of the most important concerns of the design is the T-shaped threshold space in between sheltered by an adapted cassette ceiling structure. It carries multiple climate strategies including acoustic, lighting, and ventilation and guides the circulation of different groups of users, realizing both functional and aesthetic values.

This architectural design project aims to celebrate Estonia’s timber culture by reintroducing timber into Tallinn’s urban coastal zone. Despite Estonia’s prominence in Europe’s engineered wood industry, 90% of its timber is exported as a cheap commodity rather than enhancing local architecture. This project addresses contemporary challenges like sustainability and urban densification, proposing a timber-based solution that integrates the natural qualities of wood with human-scaled residential architecture.

Located in Kalasadama, between the Linnahall and an old fishing harbour, the project revitalizes the area’s industrial character. It reimagines three building volumes, oriented to create car-free streets linking the city to the sea. This pedestrian-oriented space contrasts with Tallinn’s car-centric planning, fostering a lively urban atmosphere with mobility hubs and public squares. The seaside zone emphasizes natural coastal qualities, providing a habitat for wildlife and a retreat for residents.

The ‘Tallinn Timber’ buildings feature an outer skin that showcases modern timber construction techniques and an inner street that promotes social interaction. The outer facades layer various timber methods, creating a buffer zone that pre-heats air and provides private balconies. The inner facades and roofs offer a more intimate, sunlit space for residents. Apartments are designed with modular systems produced in local wood workshops, connecting residents to the area’s workers. These spaces balance private and open areas, ensuring functionality and comfort while promoting community engagement.

My project is an adaptive reuse architectural project of an existing warehouse supermarket into a film production house sited in Lasnamäe, the Soviet built district of Tallinn, Estonia. The design encompasses all programs necessary for the complete film making process, including a 2164 sq.m soundstage with a clear height of 14m. Besides being an infrastructure, one third of the building area is dedicated to the public with programs such as a winter garden, exhibition spaces, café and restaurant. The Southern façade of the building also acts as a cinema screen for a drive-in theatre in its expansive car parking area.

An architectural exploration set in Tallinn, the capital city of Estonia, on how to develop a vacant- and unfinished concrete structure in a cooperative and bottom-up way into a mixed-use living environment that provides people and their communities with more agency to shape their physical environment and their lives. Distilling principles for agency from research through reading and writing, analysing precedents and doing design research resulting in the design of an incremental-, modular-, flexible- and self-built system that facilitates the infill of the failed Porto Franco development at the harbour of Tallinn. Supposed to be 150.000 m² commercial space but has never finished because of a corruption scandal over which the government fell and the prime minister had to step down. Leaving the city with an unfinished- and unused space and an opportunity to redefine the role of the architect and the way in which we develop the environment around us.

This project is an attempt to create an urban condenser that will utilize the concept of food, to bring back the lost connection between two residential areas Kalamaja and Pelgulinn, in Tallinn. People become familiar with all the stages of food production, from planting to cooking and from consuming to recycling and reusing the left-over materials. Food is used as a cultural carrier that has the power to tell a story about the history of a country. In my case, a culinary school is incorporated in a public building and a restaurant that through its recipes and materials tells the story of Kalamaja, opens the school to the public and connects the people and their surroundings. I try to zone my design in private classes that is followed up by a mixed-use space were students interact with visitors during the process of learning and cooking. The facade forms a public "skin" that wraps around the main building which extends to bridges that run from Kalamaja to Pelgulinn. The building forms a metaphor for the old bridge that used to connect those areas and keeps the memory alive for the locals. Parts of the floor and a blind wall are composed by bricks found in ruins around the area to give the sense of layered time (old materials and new) on the thresholds found around the building.