In 1945-49 he studied in Tapa high school, where one of his classmates was Teddy Böckler, who later became known as an architect and an architectural historian (he also graduated the interior design department in 1955).
[2] 1949-1955 Väino Tamm studied interior design at Tallinn's National Applied Arts Institution (later known as ERKI, nowadays EKA), he graduated cum laude.
The opportunity to work and study in Finland in the history of architecture has become an indispensable element in the future development of Estonian interior design.
The interior design and furniture of Kurtna poultry farming house (completed right before his stay in Finland) is one of the most important objects of modern architecture.
Instead of using the watercolor technique that was used to visualize the projects so far, Tamm introduced a black and white graphic bubble that shows perspective views of the space.
There are two dark painted plywood boards bent over a heavy iron structure, they are apart from each other and at a small angle, on the upper fifth of the back of the chair is a metal clip holding together the two veneers.
On top of the spiral staircase that connected the three floors there was Estonia's first abstract cafe sculpture - Edgar Viiese's "Pegasus" made out of polished aluminum.
The simple and spacious effect of the interior was achieved by a large curtainless window on one wall, overlooking the St. Nicholas Church and Harju Street's green area.
The varietee ceiling on the second floor of the cafe "Tallinn" as well as the "Karoliina" wineshelf of the bar were formed by welding the empty, bottomless cups from the fish compound.
The interior of "Karoliina" had the most historic aura - the exhibited wall and the arched ceiling and the tables made out of the trunks of ancient trees.
The interior of the Kurtna poultry test station (1967, Soviet Estonian Award 1967; all together with Vello Asi) seems to be like a reversed exterior, that has some repetitive materials as well as forms.
In the hall the opposite direction of the lines, that arise from the combination of benches, brick walls and from the longitudinal wood ferm ceilings, is emphasized .
Today the main building has become a hotel, the original finishing materials for the hall and lobby interiors have been preserved and the fireplace furniture has been restored.
The large contrast of the room arose between a light floor, the artificial marble-covered walls and black furniture, above a curved plastered ceiling.
As a contemporary interior, you could sense the effects of Japanese traditional design of space in the direction of laconicism, which was expressed in particular in an empty hall that contained only some necessary furniture.
A good example was Arne Jacobsen's Copenhagen Radisson SAS Hotel, which, unfortunately, did not get materialized with its designed ashtrays and tableware, but the interior architecture, however, was still created on an even level.
As the last work, the interiors of Pirita's sailing center were completed (1980 with V. Asi, Leo Leesaar, Juta Lember [et] and Aulo Padar).