Edgar Johan Kuusik
Edgar Johan Kuusik (22 February 1888 in Valgjärve, Estonia – 3 August 1974 in Tallinn) was an Estonian architect (mostly freelance) and furniture and interior designer.
[1] After graduation he travelled around Finland where he had hoped to return in autumn of 1914 to work in Eliel Saarinen's architectural bureau.
He couldn't find a job in Estonia so he decided to go to St. Petersburg where he worked for an architect named B. von Hueck.
[3] In 1945, Kuusik joined the Estonian SSR Architects' Union, but at the beginning of the 1950s he was removed from the list because of his past.
In 1973 Kuusik published the book "Construction Engineering", which became the architectural textbook for several generations of Estonian architects.
In order to apply for a plot, Edgar Johan Kuusik, a member of the KKSV, prepared a six-floor pre-project in 1932 for an art building.
In October 1932, the Tallinn City Council allocated 1,398.5 square meters of land to the KKSV under the Obrock Agreement.
A plan for the restoration of the artistic estate established a new construction line between Vabaduse Square and Harju and Jaani streets.
Architect Kuusik continued to design the art building until it became clear that the board of the KKSV demanded the organization of the competition.
The height of the building could not exceed the double width of the spacer - this led to a decrease in the surface of the exhibition rooms.
Constructivist techniques are applied in great detail, which are expressed in both large glass surfaces and in the solution of the entrance.
This is complemented by the expressive color scheme of the building - a pink terrazzo wall surface (achieved by mixing white stone marble rubble, red brick and black English coal with cement), polished granite red poles, black window frames, and light floor space in the outer space.
Kuusik also designed the furniture - a long ping-pong, which was performed at the Luther factory and the Art Club's interior.
In the interiors of the art building - doorways, stairwell window distribution, vestibule floor, stairway, etc., Kuusik used an abstract geometric decoration (circular tondo door and window frame design, low relief horizontal boards and profiles for ornaments on doors, etc.).
The luminaries were hung on the ceiling of the Freedom Square, the larger spherical so-called Saturn lamp illuminated the interiors.
From 1959 to 1962, an overhead construction of the art building was designed and performed according to the sketch by E. J. Kuusik (Luik from the preliminary draft).
The central union of the building, which emphasizes the main part and the entrance, is designed on the portico and the edges with pairs of piers.
Decorative window frames emphasizing the festivity of the facade, which appear sto be contrastingly highlighting on the dark surface of the plaster.
In addition to Kuusik, the project included August Volberg, Erich Jacoby, Elmar Lohk and Franz de Vries.
The loggers have tried to create the illusion of the Linux platform, but also the preservation of the shutters suggests that the expressions of functionalism are mistrustful.
Architect E. J. Kuusik, who himself designed interiors here and chose the furniture of the premises, made several variants of the project, because the original room program was changed during the construction phase.
An elegant building with asymmetric design, which at one time was one of the most spectacular modernist dwellings in Nõmme, has been severely damaged, but its total volume and a large part of the architecturally and historically valuable details have been preserved until now.
[6] When the exterior of the flat-roofed building was radically fashionable at the time of its completion (fountains and round window, roof rack, etc.
One of the reasons for the personal tastes of the additional customer was undoubtedly the fact that, as the embassy hosted the congregation, diplomats and others often gathered here.
The pillars, arches, the foot of the urn and reliefs were Saaremaa's so-called marble, the rest of Lasnamäe's lacing.
There were five reliefs on the front of the monument: the national coat of arms, on the two sides the four emblems that symbolized the infantry, navy, horse racing and cavalry.
The cannon fountains gave ground floor air in the spring of 1950 to the "honor" of the 10th anniversary of the ENSV, so remembered by contemporary.
The first of them was as it has been restored to this day: in a modest aspect, Finnish granite is solid, with a geometric ornament at the top and a large round rhodium plain in the middle.
Sculptor Rudolf The rhythmic relief depicts a hero struggling with two snakes and is surrounded by a capital letter: "For a Free Estonia to Death Trust."
The gates of the cemetery inspired by the triumphal archaeological site were also a memorial building: on its inner sides there were the names of the mummies, some of which are nowadays read.
