Studia Vernacula

Peatoimetaja saatesõna. Puust ja punaseks

Jana Reidla — Wed, 19 Nov 2025 00:00:00 +0000

20 aastat pärandehituse oskuste õpetamist Viljandi Kultuuriakadeemias

Leele Välja — Wed, 19 Nov 2025 00:00:00 +0000

In 2005, the first students were accepted onto the National Construction curriculum at the University of Tartu Viljandi Culture Academy. The new program was led by Priit-Kalev Parts, whose leadership lasted with short breaks until 2017. For the first ten years, this was a separate curriculum, then in 2016 three previously independent curricula (textiles, construction, metalwork) were merged into the Native Craft curriculum with three streams. Since then the official name of the speciality has been Construction Speciality of the Estonian Native Craft Curriculum.

In 2017, Leele Välja started as the head of the program, her first task being to launch sessional studies, which started 2019. Interest was high in 2019 and 14 students matriculated, more than ever before. Ten of them have graduated to date, with the other four also reaching their final year; they plan to complete their theses in future. The 2021 admissions were even more successful. Due to the high level of interest, a few more people were admitted in addition to the planned 14. This group made history that will be hard to repeat: twelve of them graduated within the set period. Behind this achievement was the wonderful cooperation and unity of the group.
In the title of the Native Craft Construction stream, both native craft and construction are equally important. Native craft, heritage technologies also inspire today’s modern architecture. It is the task of native craft construction specialists to know how to use heritage techniques and keep them alive.

The program has a new head, Tarmo Tammekivi, who started in 2025. Each leader has his or her own impact on the program. Under the first leader, Priit-Kalev Parts, construction was at the forefront, while under Leele Välja (2017—2024), the focus was clearly on understanding and valuing heritage and native technologies. As a leader, Tarmo Tammekivi set the goal of training traditional or heritage building specialists who, in addition to knowledge of traditional technologies, would also have the potential to obtain professional qualifications in the future.

The Native Construction curriculum integrates practical and theoretical knowledge. Subjects such as Estonian architectural heritage and ethnology, heritage conservation, and the theoretical aspects of native crafts are intertwined with knowledge of building physics, supplemented by extensive practice in both artistic and construction subjects. The topics of the curriculum are characterised by the theses defended, totalling 64 between 2009 and 2025. This curriculum has been jokingly called the “sauna curriculum”. Statistics support this claim to some extent: a quarter of the theses are related to the restoration or construction of saunas. In addition to the restoration of old farm buildings research has been conducted on the energy efficiency of buildings, reuse of materials, various roofing materials, ship and bridge construction, and various historical buildings.

Rasksulava ja tulekindla savi kaevandamine ning tootmine Eestis 1923–1941

Elvi Nassar — Wed, 19 Nov 2025 00:00:00 +0000

In the aftermath of the War of Independence (1918–1920), Estonia, a small country exhausted by war, had to achieve economic independence in addition to political independence. Industries focused on the more extensive useof local natural and mineral resources and restrictions on imported goods, and the production of building materials became increasingly based on local natural and mineral resources. The industries based on local raw materials, such as the cement, brick, gypsum, and lime industries, were considered prospective. The production of building bricks increased significantly, while there was a lack of the refractory clay and chamotte stones needed to build fireplaces, materials that had to be imported.

As early as the end of the 1920s, a study was undertaken in Estonia of the refractory clays, which resulted in the discovery of the refractory clay of the Devonian Period in Petseri (Petchory) County in southern Estonia and in neighbouring Võru County (Joosu). In the latter, the quarrying of the refractory clay had already been started in 1923 by Peeter Matz, who also briefly owned a clay quarry in Tallinn. Between 1927 and 1936, concessions for the extraction of refractory clay in Petseri County were granted to several entrepreneurs. In the village of Lädinä, Karl Heinrich Veinberg started to quarry clay and process it in Irboska (Izborsk); Kurt Fersen quarried clay in the village of Väiko-Puravitsa and Dane Johan Clausen in the village of Küllätüvä-Kasakova. The latter also had a factory there called Estošamott. Aleksander Simon and Johannes Sester had a joint clay pit in the village of Kolovina, and Artur Tahv had a pit and also owned clay concerns in Tallinn.

Although in the terminology and in the press of the time the clay quarried in Petseri County was treated as fireproof, it was predominantly still refrac tory clay that needed enrichment, from which fireproof clay and chamotte stones could be produced after processing. The production of refractory clay in Võru and Petseri counties reached a total of nearly 8,130 tons between 1925 and 1941 (see Appx. 1). In the summer of 1940, the Republic of Estonia lost its independence, and soon after all mines and industrial plants were nationalised. Although refractory clay was still quarried in the previously established pits in the first year of Soviet rule (1940–1941), production decreased significantly. In January 1945, Petseri County was abolished: a small part remained in the territory of the Estonian SSR, whereas the major ity was incorporated into the Petseri District of Pskov Oblast, Russia.

During the Soviet period clay from Kolovina and Väiko-Puravitsa started to be used in a ceramic plant near Petseri, Russia. In the Estonian SSR, clay from Joosu was used in Võru for the production of bricks and in Tallinn for the production of ceramic construction tiles, while stocks of refractory clay in the village of Küllätüvä were left in disuse. Today, refractory clay is considered a building mineral resource in Estonia, although it is no longer quarried.

Keywords: mineral resources, mining, refractory clay, building materials, industry, Petseri County, Võru County

Laastukatuse vastupidavust mõjutavad tegurid

Mikk Tagapere, Madis Rennu — Wed, 19 Nov 2025 00:00:00 +0000

In the early 20th century, the traditional shingle roof became popular in the rural areas of Estonia as thatched roofs gradually fell into disuse. In the 1970s and 1980s, the shingle roof was replaced by asbestos cement, and in recent decades also by easily obtainable sheet metal roofing. In the present century, in the process of acquiring and reconditioning rural homes, shingle roofs have been rediscovered, although the tradition, which has meanwhile become almost obsolete, makes it quite difficult to find relevant practical
know-how.

In interaction with the owners of country houses, different opinions have emerged regarding the durability of the shingle roof. According to the memories of older people, in their youth shingle roofs were often repaired and were not replaced until after 40 years. On the other hand, there are oral reports of shingle roofs completed at the beginning of this century that needed to be replaced as soon as after ten years.

This article assembles oral data from roof masters, site observation of farmhouse roofs, and the experiences of homeowners, with the aim of defining the life expectancy of the shingle roof, the factors affecting this and possible techniques for its extension. To collect the data, the authors conducted interviews with homeowners and roof masters from January to April 2024. The range of questions concerned the experience of the past few decades. In the second phase of the fieldwork, in April and May 2024, 20 shingle roofs, for which data on the construction and maintenance are available from at least the last 25 years, were photographed and described, mainly in southern Estonia.

The results show that the resistance of the gable roof of the traditional simple shape and angle of inclination (at least 40 degrees or steeper), and without valley gutters, is 10 years for each layer of shingles, provided that the techniques for placing and nailing shingles are appropriate and the roof is not located under large trees, which could lead to additional risks. The advantages of three-layer roofing are best seen in buildings with an uncompleted attic. Valley gutters tend to break down significantly earlier than the rest of the roof surface, the reason being a variety of construction deficits (the valley gutter too narrow and/or open too little, with no edges bent upward). The hips being covered by shingles does not affect the condition of the roof, although the place of risk is the penetrations that require special attention. Large trees growing in the vicinity of the roof significantly shorten its life expectancy.

The study did not confirm that a wider overlay increases the durability of the roof. However, the width of the overlay must be at least 3 cm so that the nails do not damage the shingles. When choosing a tree species for the shingles, it is recommended to refrain from using a conifer on the southern side of the roof. Aspen shingles are suitable for the roof regardless of cardinal direction, but aesthetically they leave something to be desired due to warping. The ridge board of the roof needs to be replaced after 10–12 years. However, use of a ridge board is strongly recommended to prevent ridge shingles from breaking down and water from entering between them.

The shingle roof is almost maintenance-free roofing. During the roof’s lifespan, the ridge board should be replaced as needed and the gutters should not become clogged with accumulated debris. The efficiency of roof tarring cannot be confirmed based on the data acquired so far. Spot repair of the roofing, while extending its lifespan, is only applicable on smaller roofs and within a few years.

The results of the study give homeowners an idea of the life expectancy of the shingle roof and the factors that affect it. Hopefully, this new knowledge will help people make a reasoned decision in favour of installing a shingle roof.

Keywords: shingle roof, roof shingle, traditional building, natural building materials, farm architecture, ethnographic fieldwork

Pärandtehnoloogilised puitõhikud 21. sajandi Eesti arhitektuuris. Kimmid, sindlid ja laastud

Leele Välja — Wed, 19 Nov 2025 00:00:00 +0000

The article discusses the use of shakes and shingles as heritage craft roof coverings in 21st-century architecture. In modern architecture heritage is mainly used in two ways: 1) by adhering to formal and proportional role models (for example barn-dwelling-type buildings); and 2) by using heritage craft materials in buildings that use modern architectural language. The article focuses on the second case, specifically on the use of surfaces covered with shakes and shingles in modern architecture. The study included 17 buildings and projects that combine modern architectural language and traditional roofing material and were built between 2003 and 2023.

To collect the data, architects, owners, and one master craftsperson were interviewed. The aim was to find out why they had chosen this particular material as roof covering, what specific types of shake or shingle were used, how they were processed, and in which parts of the building they were used. In addition, how such a choice of materials affected the user experience was of interest.

The data shows that the use of shakes and shingles in modern architecture is still in the early stages in Estonia and is mainly limited to smaller buildings such as private houses and outbuildings. The main reasons for this limited spread are supply problems, high cost, and installation problems. Despite the complexities, the use of shakes and shingles in architecture is promising as it combines modern design and traditional construction skills. It is also one way to keep the heritage craft skills related to the material alive. One possible future direction is the use of shakes and shingles primarily as wall cladding, which is not as demanding as the traditional use as roofing material. Although the use of shakes and shingles in modern architecture is still in the process of formation, it plays an important role in the preservation of heritage crafts and in the diversification of the modern architectural landscape.

Keywords: wooden roofs, wood architecture, heritage craft, 21st-century architecture, shingle, shake, shingle roof

Matsalu ühepuuvene ehk ussilaev

Allan Jürgens — Wed, 19 Nov 2025 00:00:00 +0000

Making dugout boats from a single log involve some of the oldest construction traditions known on almost every continent. In Estonia, dugout boats have been common in all regions where the waterways were suitable for navigation. At the beginning of the 20th century, they were still found in three regions: the western part of Estonia; in the Kasari river basin and around Matsalu Bay in central Estonia in the Pärnu river basin; and to some extent on the lower Emajõgi and Ahja rivers.

While the Soomaa dugout boat has received a lot of attention thanks to UNESCO and the continuation of its building traditions, the Matsalu-type dugout boat is little known due to a lack of sources. However, Matsalu Bay and the Kasari river basin are a distinctive area due to their maritime influence, which therefore merits a more in-depth study of the Matsalu type dugout boat. Matsalu-type dugout boats differed from the boats used elsewhere in Estonia in that they were larger and often had an edge board attached to raise the sides. Other distinguishing features are the special triangular-shaped bow and stern, and the technology used to spread the sides of the boat. For example, while in Soomaa fire and water were used to spread dugout boats, in Matsalu they were generally spread using
hot tar. This was done indoors in a traditional rehetuba, otherwise used mainly to dry grain. In contrast to Soomaa, where the tradition and production of dugout canoes has survived to the present day, Matsalu's dug out tradition died out in the first half of the last century. The main reason for this decline was the shortage of the old aspen trees that are suitable for manufacture.

The present article is an attempt to bring together the photographs and ethnographic records of Matsalu dugout canoes and to highlight their technical and cultural characteristics. In the first part of the article, I will briefly outline the historical and cultural background of the Matsalu and Kasar river basin and its impact on the spread of the dugouts. In the sec ond part, the specific features of the Matsalu dugout canoe and the stages of its construction will be discussed. In the final part, I will examine the various causes that led to the decline and disappearance of the Matsalu dugout. Since the aim of the article is to bring together various sources that mention the Matsalu dugout canoe, the most notable quotations will be presented in full.

Keywords: archaic boats, heritage technology, handicrafts, cultural heritage, woodworking

Hoonete kaunistamine komi maapiirkondades 19. sajandist tänapäevani

Art Leete — Wed, 19 Nov 2025 00:00:00 +0000

This study aims to analyse the aesthetic dimension of Komi rural archi tecture through the last couple of centuries. It focuses primarily on con temporary developments and the role of the local community in shaping shared ideas of house design. Over the last few decades, building dec oration has developed strongly in the Komi countryside. This dynamic change makes the topic of exterior design intriguing enough for closer examination.

The research involves firstly an overview of ethnographic descriptions of the Komi rural architecture of the 19th and 20th centuries. The authors of the era published their ethnographic notes in travel reports, popular descriptions of the region, and even in the form of fiction. Secondly, I explore how the professional ethnographers of the 20th and beginning of the 21st centuries depicted Komi rural dwellings in scholarly literature. The most important contribution of this study is based on my ethnographic field experience from recent decades, as I visited the region annually from 1996 until the start of the COVID-19 pandemic.

The results of my ethnographic investigations indicate that historically rural Komi have not paid close attention to decorating their houses. However, one must recognise exceptions from this overall development, such as some examples of outstanding house decoration that originated in the 19th century. Contemporary ethnographic evidence confirms that the Komi think through the aesthetic choices when decorating their buildings and intend to remain in concord with modern design ideas circulating inside a
community. However, particular space for individual choice and improvisation also remains available.

As a result of my analysis, the aesthetic design of Komi rural buildings depends on the economic situation, community standards, and individual selection. These circumstances and influences function in combination, with most dominant among them being the culturally recognised requirements and people’s desire to follow and conform to the community trends. However, when observing the overall mode of contemporary house design among the Komi, one can easily observe that individual preference plays a significant role in architectural decision-making despite the fact that the Komi prefer to explain their design decisions as primarily depending on community preference.

Keywords: Komi, village, dwelling, architecture, ethnograph

Käsitöö ja pärandtehnoloogia vilistlaste erialase tööhõive uuring: laiem kontekst ja tulevikuvaated

Ave Matsin — Wed, 19 Nov 2025 00:00:00 +0000

This article presents the results of a graduate employment study commissioned by the University of Tartu Viljandi Culture Academy, focusing on alumni of craft programmes. The findings are contextualized within broader educational, cultural, and economic frameworks. The article aims to analyse the modes of professional application of craft education, evaluate the adequacy of existing metrics, and outline future directions for the development of craft education and entrepreneurship.

The article begins with an overview of the forms and historical background of craft education, highlighting the roles of formal, non-formal, and informal learning in the development of craft skills. Particular attention is given to the evolution of vocational and higher education since 1988, when the first traditional craft programmes were established. The development of various schools and curricula is described, with emphasis on the connection between tradition-based craft education, national identity, and cultural heritage.

The analysis of previous studies reveals statistical and methodological limitations that hinder accurate assessment of the sector’s impact. Key issues include the ambiguity of EMTAK (Estonian Classification of Economic Activities) codes, the fragmentation of craft entrepreneurship across multiple sectors, and the exclusion of seasonal and part-time work from official statistics. Although earlier studies by OSKA have addressed the relationship between craft education and the labour market, their methodologies fail to account for the specific characteristics of the field.
The methodology of the current study differs from previous approaches by focusing on alumni’s self-assessment of the relevance of their work to their field of study. The sample included graduates from vocational, applied higher education, and master’s programmes, with a total of 349 respondents. The survey was followed by in-depth interviews that explored alumni motivations, learning experiences, and career choices.

A central finding of the study is the diverse ways in which craft education graduates engage with the labour market. Those fully employed in their field work primarily as teachers or trainers, with fewer operating as entrepre neurs and even fewer as salaried employees. The analysis of EMTAK codes revealed that alumni businesses span a wide range of activity sectors, under scoring the need for more appropriate metrics.

The study found that 18% of vocational graduates, 33% of applied higher education graduates, and 56% of master’s graduates are fully employed in their field. When including partial employment, seasonal work, and activities partially related to their field of study, the figures rise to 55% for vocational education, 77% for applied higher education, and 82% for master’s level. These results demonstrate that the impact of craft education on the labour market is significantly greater than current statistical indicators suggest. Moreover, the data show a clear correlation between higher levels of education and increased professional engagement.

The article highlights the need to consider the specific characteristics of the craft sector when evaluating educational outcomes. These include parttime and seasonal work, volunteer activities, and the application of craft skills in other professions. For example, craft skills are used in teaching, museum work, and community activities – contexts that are not reflected in official labour statistics but hold cultural and social value.

Looking ahead, the article emphasizes the importance of craft skills in the context of sustainability. The growing relevance of circular economy practices, repair culture, and material reuse creates new opportunities for the application of craft expertise. Craft also plays a vital role in supporting mental health and fostering community cohesion. In regional employment, craft offers viable livelihood options in peripheral areas and for individuals with special needs, contributing to social inclusion.

The article outlines three conceptual directions for craft entrepreneur ship: creative craft, skilled craft, and traditional craft. Creative craft links craft with design and innovation; skilled craft encompasses various service-oriented artisans and other service provider; and traditional craft focuses on the preservation of cultural heritage. Clarifying and integrating these directions into official business statistics is essential for the strategic development and support of the sector.

In conclusion, the article argues that new, sector-specific metrics are needed to evaluate craft education and entrepreneurship, taking into account the unique features of creative industries. A political consensus on the definition of craft entrepreneurship is also necessary to ensure the sector’s sustainability and attractiveness. Craft education should not be dismissed as mere hobbyism – it is a vital cultural, economic, and social resource that requires systematic and informed development.

Keywords: professional craft education, craft entrepreneurship, craft education application, craft education effectiveness research, alumni survey

Trondheimi Stiftsgårdeni 18. sajandi puitakende valmistamisprotsessi taasavastamine

Thor-Aage Kaminka Heiberg, Roald Renmælmo — Wed, 19 Nov 2025 00:00:00 +0000

Trondheim is the fourth largest city in Norway and widely known for the Nidarosdomen – the national cathedral – and its status as national coronation city and religious centre. It is also a city with a very well-preserved Baroque city plan and numerous wooden two-storey buildings dating from the 18th and 19th centuries. The locals often refer to it as “the wooden city”. This article investigates different approaches to the moulding of profiles of bars, rails and stiles in 18th century wooden casement windows based on Stiftsgården wooden palace.

The authors have closely examined two old sashes from the building discovering that toolmarks on the sashes raise questions about the manufacturing process. The authors made relevant tool replicas which they use in experiments to recreate a Stiftsgården sash. Their objective was to determine what tools may have been used to make the original sashes using toolmarks found on the old sashes as indicators. The authors also briefly discuss the importance of keeping artisanal traditions alive as a way of better understanding our cultural heritage. Even though the authors could not fully replicate the tool marks left on the Stiftsgården sashes, replicating tools, and other experiments, proved that different tools and how they are designed relates to a sequence of tasks that mutually support each other, just as a mitre chisel can be linked to moulding window frame elements prior to cutting the mitres.

Keywords: window making, pre-industrial artisanal joinery, craft research, experimental craft science, hand tools, moulding of profiles

Kogukondlikud ehitusprojektid. Lalsi Püha Nikolause õigeusu kiriku taastamine

Andres Uus, Piret Uus — Wed, 19 Nov 2025 00:00:00 +0000

The article deals with the community building projects of the NGO Vanaajamaja (literally ‘old times house’). First, the organisation and its team are introduced along with the NGO’s construction works and the international role models that have influenced its activities. An overview of the community projects carried out since 2012 is given: the Järuska covered bridge on Rannapungerja River, the restoration of Saint Nicholas’ Orthodox Church in Puutli, the restoration of three post windmills in Vilsandi, the building of Saint Mary’s chapel in Abruka, and participation in the renovation of the Orthodox Church of John the Baptist in Miikse.

The second part of the article is dedicated to the NGO’s most signifi cant community project, restoration work at the Orthodox Church of Saint Nicholas in Lalsi, carried out between 2017 and 2021. An overview of the history of the church and the state of the building before the beginning of the restoration work is given. The different stages of the restoration of the church are presented along with technical descriptions of the processes, photographic material as well as documentation of the reinstatement of the iconostasis that followed the restoration of the building. Finally, the social and personal motives of participants in community construction projects like these along with possibilities for financing projects of this kind are described.

The building community is motivated to participate in renovation activities by the possibility of exchanging know-how and establishing professional and cross-specialty ties. Estonia’s small size does not allow narrow specialisation but requires knowledge of and skills in related specialties. Construction activities are a good way to gain experience from a master of another specialty. If, for example, a mason has a reliable specialist in tin or woodwork as a partner, this is a great asset in its own right. International participants, who constitute about a third of the total number, introduce their own construction techniques and add cultural diversity to the collaboration.

In the case of community projects, goodwill and professional interest are the motivators, although understandably such work also requires substantial financial resources. In our experience, eager initiative and purposeful contributions are also accompanied by the trust of donors. You can also do something about each project with quite little financial support or the help of local sponsors, although initiatives based on action helps us find bigger supporters. The projects described in the article have been supported by the State Forest Management Centre and several retailers of building materials, by construction companies with services and tools, and by private individuals who feel an emotional connection with the object to be restored. In the case of monuments, the National Heritage Board has been the main financial contributor.

Throughout the years the children of project participants have also been involved in the restoration work. In the course of this experience they have acquired respect for and interest in old buildings. It has certainly been a journey in which we have all improved.

Keywords: community building projects, building restoration

Maakivilaudast elumajaks: Lepiku talu näitel

Tiina Angerjärv — Wed, 19 Nov 2025 00:00:00 +0000

The article offers an autoethnographic overview of my first large-scale renovation project, a ruined fieldstone barn building that needed to be reconstructed into a private home within four years. The restoration and renovation of the building required a long-term commitment to laying and jointing fieldstone. The article uses autoethnography to reflect the years long working process. In the course of the project traditional techniques were combined with modern tools and technologies.

Today fieldstone, when used as a sustainable recyclable building material, does not constitute the most economical choice, considering the maintenance costs and use of time as a resource for construction. In addition, we have to consider carefully whether such a building is suitable for permanent living, as in the winter the walls might sweat and frost might cover the interior, or mould generated by moisture might be your cohabitant.

Experience shows that the use of ground source heating in a stone building is an effective and practical solution. The heat rising from the subfloor spreads evenly, warming the stone walls as autumn arrives and preventing them from cooling down for winter. Ground source heating is particularly suitable for stone houses as walls and floors act as natural heat storage units. The system uses the natural heat stored in the ground, which has relatively stable temperatures throughout the year. In addition, the even heat keeps the temperature of the stone walls above zero in the winter, which in turn reduces the risk of frost damage and condensation. The efficiency of ground source heating can be further improved by combining it with a modern ventilation system that helps maintain heat and ensure air circulation and moisture balance.

Another modern solution to be used is thermal plaster. Since the building is covered with fieldstones both inside and outside, it has no additional insulation whatsoever. Winter observations show that frost occurred over the entire length of the outside wall, while in the inner corners it occurred approximately 70 cm above floor level. The heat loss problems result from the thermal conductivity of the stone and the effects of thermal bridges. The solution turned out to be thermal plaster, which is four times lighter in weight compared to classic plasters and has low thermal conductivity, so it can be used on mineral substrates. All corners of the house and the surfaces behind cupboards were covered with a layer of thermal plaster to improve thermal insulation and reduce the impact of thermal bridges. As a result of the process, I can argue that it is possible to live in a traditiona fieldstone building and that living conditions can be improved using modern solutions.

Keywords: fieldstone, fieldstone building, jointing of stones

Matsalu tüüpi ühepuuvene valmistamine Viljandimaal 2024. aastal

Allan Jürgens — Wed, 19 Nov 2025 00:00:00 +0000

The building of Matsalu region dugout canoes ceased in the first half of the last century, causing the disappearance of craftsmen, skills and the continuity of building traditions. The few detailed descriptions and known construction techniques of these dugout canoes are scattered in Estonian archives and museums. Collecting texts and photos related to Matsalu wooden boats started in 2022 thanks to the Matsalu Puupaat (Matsalu wooden boat) Facebook group. Soon after, we started cooperation with the Estonian Dugout Canoe Society, who were also willing to support research on Matsalu region. Two years of research bore fruit, and by the end of 2023 the first historical-technical overview of Matsalu dugout canoes was completed, bringing together descriptions of different techniques, the use of the boat and the general historical context found in ethnographic collections and other sources. However, the ethnographic descriptions were not alone sufficient to reconstruct this dugout canoe. Fortunately, there are many Matsalu-type canoes in Estonian museums, and since written sources lack many details we have gained much knowledge by studying these canoes.

Thanks to these efforts, we have been able to compile a sufficiently com prehensive overview of almost every stage of making a Matsalu dugout canoe. In cooperation with the Estonian Dugout Canoe Society, we took the first steps towards reconstructing this historical boat type and were eager to experiment with the techniques we found in the sources.

In September 2024, a group of traditional woodworking enthusiasts gathered in Viljandimaa to take part in an experimental venture to build a Matsalu type canoe. The guides were Priit-Kalev Parts and Kaido Kama, renowned craftsmen and experts in Soomaa region dugout canoes. This practical diary gives a detailed description of the construction of the Matsalu-type dugout canoe in Viljandimaa, providing an overview of the lessons learned during the reconstruction of this long-forgotten west Estonian dugout canoe.

Ritsu rehemaja katuseharja uuendamise planeerimisest Eesti Vabaõhumuuseumis

Kadi Jentson — Wed, 19 Nov 2025 00:00:00 +0000

At the beginning of 2025 the issue of the renovation of the Ritsu barn-dwelling roof ridge was raised at the Estonian Open Air Museum. The building, which now stands at the edge of the forest, was brought to the museum from Tinnikuru village near Lake Võrtsjärv.

The Estonian Open Air Museum has an ethnographic description of the dwelling – EVM EA 43, originally compiled by Gea Troska – that includes a description of its history and construction. This reveals the building was built in the 1860s. The restoration of the Ritsu barn-dwelling kept this in mind, leaving out the chimney and – as a later addition to the original building – attached stable. When brought to the museum in 1966, the Ritsu barn-dwelling had a shingle roof, dated to 1938. Prior to that the roof was thatched, but no information as to what exactly it looked like exists now. The first place to look for examples is MUIS, where searches were carried out by both region and photographer. The limit set for the search was 1960, as the number of photographs increases considerably from there on and the likelihood of finding photographs depicting surviving thatched roof exam ples is minimal. The Estonian National Museum’s collection of ethnographic drawings was reviewed, with the limit set to 1940, as well as some ethnographic descriptions from south Estonia. Unfortunately, no photographs or drawings of thatched roofs were found for Paistu parish. As no examples were found for Ritsu’s roof in Paistu, the geographically and chronologically closest examples are photographs taken by Johannes Pääsuke in 1912 near Tarvastu.

A nationwide search discovered 12 more photos of roof ridges of a similar design in south Estonia. Examples closest to Ritsu are photos taken by Ilmar Linnat in 1949 on the other side of Lake Võrtsjärv, in Uniküla in Rannu parish. Other examples were found farther from Lake Võrtsjärv, in the parishes of Kursi, Rõuge, Urvaste, Võnnu, Räpina and Setumaa. In addition, as a student, architect Harald Sultson made a drawing of the barn-dwelling at Hiire farm in Kääpa village (ERM EJ 30:1) during ERM’s fieldwork in 1926, depicting bundles of straw tied to rods on the ridge and the derelict roof of the building.

A common feature to all these roofs is the absence of wooden strengthening for the ridge. Zooming in on the photos, a rod can be seen with the straw that’s broken over the ridge tied underneath, and a bundle of straw attached to the rod to protect the ties.

It is likely that from the autumn of 2025, the roof ridge of the Ritsu barn-dwelling in the Estonian Open Air Museum will be seen covered by these bundles of straw instead of the current wooden strengthening.

Looming läbi pärandi

Laur Pihel — Wed, 19 Nov 2025 00:00:00 +0000

Unravelling and rethinking Estonia’s diverse architectural heritage has shaped the author’s vision of contemporary architectural creation as a practicing architect and a lecturer in heritage technology at the University of Tartu’s Viljandi Culture Academy. The realisation that the foundation of Estonian architectural art has always been sober peasant wisdom has given a lot of confidence in designing and teaching design. First one dares to get to know the local architecture and environment, the naturally available building materials and traditional working methods with sincere curiosity, and especially the future residents who will use the building. From this grass roots level, a natural place emerges that primarily embodies harmony. A building is never ‘a thing in itself’, it is connected to an invisible network that penetrates both the past and the present. A fixed architectural discourse has no place here. The transparent principle is that a building should be easy to think out, easy to draw, easy to build and, ultimately, easy to live in. Bold plays on form arise instinctively from this rather than simple adherence to the fashions of contemporary architectural trends.

TÜ Viljandi kultuuriakadeemia pärandehituse lõputööde nimekiri

Leele Välja, Lembe Lahtmaa, Madis Rennu, Tarmo Tammekivi, Jana Reidla — Wed, 19 Nov 2025 00:00:00 +0000