Leonhard Lapin

Leonhard (Leo) Lapin (born 29 December 1947 in Räpina) is an Estonian architect, artist, architecture historian and a poet, Emeritus Professor at Estonian Academy of Arts, pseudonym Albert Trapeež. Was a forerunner of avangard movement in Estonia, influenced Estonian art and architecture through his works and writings during the postwar 20th century. Lapin has been active in: functionalism, suprematism, technological futurism and pop art. As an artist has created graphics, paintings, performances, happenings and published several articles, books and poetry collections. Has influenced many students as a teacher. Sees architecture and art mainly as a spiritual activity.[1]

Leonhard Lapin

Biography
  • 1965 graduated Räpina High School.
  • 1966–1971 studied architecture at ERKI
  • 1970 got introduced to Academic Oriental Association, where he learned about Buddhism.
  • 1971–1974 worked at Tallinn's Restoration Government as an architect under known Estonian art scientist Helmi Üprus and discovered Estonia's architectural heritage of 20. century.
  • 1977 member of Estonian Artists Association
  • 1982 member of Estonian Association of Architects
  • 1990 lector at Estonian Academy of Arts
  • 1995 professor at Estonian Academy of Arts
  • 1991–2003 Estonian Association of Architects publication Ehituskunst head editor
  • 1992–1998 lecturer at Helsinki Art School Maa
  • 1992 member of Nordic–Baltic architectural triennal committee
  • 1993–1996 member of Art School Maa governing body
  • 1994 guest professor of Architecture Department at Helsinki Institute of Technology
  • 1995–1997 and 2003–2005 he was the chairman of visual and applied arts foundation capital in Cultural Endowment of Estonia
  • 1997–2000 chairman of "Space and Form 2000" committee
  • 1997, 2002 and 2005 guest professor at Estonian Music Academy
  • 1998–2001 director of Tallinn Art Council
  • 2001–2002 professor of Visual Arts Department at University of Tartu
  • 2012 became Emeritus Professor at Estonian Academy of Arts

[2][3][4][5]

Personal life

Leonhard Lapin is Sofia Lapin's (Sõrmus) and Rudolf Mõttus's son. More relatives: half-brother, Doctor of Philosophy Voldemar Lapin, half-brother Anatoli Mettus and half-sister Valentina Olli (Lapin). In the father's side of the family men worked as tailors. Mother worked as the director of sewing manufactury. That is why Lapin was thinking to study fashion at Estonian Academy of Arts, but his eldest brother told him to study architecture. The family name Lapin comes from mother's first husband, who was Latvian, Rūdolfs Lapiņs (Latvian: little leaf). After family name's Russification it became Lapin. He became close with Oriental Association and Buddhist mahamudra teachings, that became base for his future composition teaching method. 1969–1982 was married to Sirje Runge. Later was married to architect Kristel Jaanus. 1991 daughter Anna Maria was born and in 1996 son Aleksander.[6]

Creativity

Art and Literature

Leonhard Lapin began active work during 1960. and raised rapidly to leading avant-garde artist position, but also organizer and theorist. Was a member of avant-garde artists movement SOUP´69. His graphics brought him international attention, especially series where he addressed blending of human being and a machine. As an artist has created ink drawings, graphics in silk screen printing, gravure printing and lithography techniques, paintings in watercolor, gouache and oil, architectons, sculptures and installations. He also did artworks in pop art in the late 1960s, influenced by Andy Warhol[7] Wrote articles and poetry that criticized Soviet art ideologies, that were spread as manuscripts. Later the poems have been published as collections underpseudonym Albert Trapeež. Lapin made his first architecton in 1976 and it was named "Monument to Tallinn". It was Lapin who brought the word "architecton" to Estonian and Finnish languages. The notion comes from 20th century Russian avant-garde artist Kazimir Malevich, for whom "architecton" meant the home of future human being. Lapin also created a notion of "own space" ("omaruum" in Estonian) that he deals with in his composition teachings.[8] Lapin has conducted first happenings in Estonia, also has staged performances in theatre. He has been invited to very many exhibitions in other countries, his worcs are in national and private collections all over the world. Lapin's concept of space and void has been source of expression of his ideas. He has written many books on this topic. Leo has an individual emotional writing style, too subjectively for academic writing, which does not mean that his texts have no historiographic value.[9][10]

Architecture

Lapin belonged to the generation of "young angry architects" together with other young architects who graduated from Estonian Academy of Arts during the 1970s. At that time L. Lapin was a persona non grata among architects but in the arts sphere he was recognized as an enfant terrible. Other group members were Vilen Künnapu, Tiit Kaljundi, Avo-Himm Looveer, Ain Padrik, Jüri Okas, Jaan Ollik and Ignar Fjuk, joined by a bit older architects Veljo Kaasik and Toomas Rein. They called themselves "The Tallinn Ten" but they can be put under wider term "Tallinn School"[11] because it covered wider circles of architects, artists, designers and engineers of that generation. During the Soviet time acting as a group was more effective because they could accomplish more than while standing alone. The main message of the group was that architecture is a form of art. The greater goal was to change architecture, environment, people's attitude towards them and to give sense to contemporary society and culture.[12] "Tallinn's School" experimental architects and artists, but mostly Leonhard Lapin dealt with the history of architecture, mainly by writing but also in other art forms. During his education, future architect got acquainted with the functionalism of the 1930s, that had strong dissaproval from the Soviet regimen. But Lapin also ardoured early Soviet avant-garde art and Russian constructivism, so he could not be accused of treason by the government. New term neofunctualism was grew out of Lapin's plastic architecture with maschine aesthetics. Tallinn School's architects could express themselves mainly through private house projects since other types of constructions were strictly regulated. Although in the course of creating an outstanding and individual exterior, the suitability into the surroundings and the comfortable usage of the interior spaces were often neglected. During the 1976–77 Lapin developed his houses according to his graphics series "Maschines". A good example is Villa Valeri I, located in Laagri, Estonia, that is an equivalent to his work "Maschine-architecture III or Villa Valeri I" (1976).[13] The paradox of Lapin is that although he executed contemporary avant-garde, in his writings he dealt with historical styles and notions. Through creation of a linkage between earlier history of architecture and art and also by dealing with terminological problems Leonhard wanted to raise the awareness of the Estonia's society.

"In 1978 we presented 'pure ideas', as our aim was to show architecture as an independent form of art, a manifestation of the spiritual, but also as an independent and influential feature that played a part in social processes."[14][15]

Works

Art
  • (1970) "Becoming One With the Star" series
  • (1972) "Maschines" series
  • (1975) "Cosmic Machine" oil painting
  • (1977–95) "Machine-Houses" graphic series of villas
  • (1982) "Self-Portrait as Venus" photo
  • (1987) "Monument to Tallinn" architecton
  • (2003) "Codes" painting series

Architecture
  • (1970) "Ugala" Viljandi Theatre project
  • (1973) "Tallinn Sailing Center" competition project with A.-H.Looveer and others, I prize
  • (1979) "Artificial Landscape" in Viimsi
  • (1988) "Haljala Chapel" competition project, I prize
  • (1992) "Tallinn Town Hall" ideekavand, I prize
  • (1992) "Aglona (Latvia) Catholic Center" design solution,with V.Strams
  • (1993) "Freedom Square" competition project, with K.Jaanus, II prize
  • (1994) "Gdansk Citycentre" design solution, with K.Jaanus
  • (1994) "Estonian Forest" installation concept for São Paulo bienna
  • (1995) "MOnument for Second World War Victims on Tõnismägi (Tallinn)" competition project, I prize
  • (2003) "Blue-Black-White Clock-Monument" monument of Freedom Clock

[16]

Awards and Acknowledgments
  • (1973) Award of Ljubljana Print Triennal
  • (1974) Award of Tokyo Print Triennal
  • (1987) Annual Paintings award of Estonian Artists Association
  • (1987) Award of USSR Architecture
  • (1989) Art award of Kristjan Raud for nimeline kunsti award for the treatment of mythological topic
  • (1997) Cultural award of Republic of Estonia
  • (2001) The Order of the White Star IV class order
  • (2001) Annual award of Estonian Association of Interior Architects
  • (2003) "25 Best Designed Books of Estonia" award, for designing Okakura Kakuzo book "Book of Tea"
  • (2003) Cultural Endowment Literature Endowment essay award nominant for "Tühjus. Void" and "Avangard" books
  • (2004) Annual award of Association of Estonian Printmakers for creative work of 2003
  • (2004) Mini-Print International Timișoara, Romania. I prize nominee
  • Annual Estonian Association of Interior Architects publicist studies award for "XX Century Estonian Space" ("Eesti XX sajandi ruum") book compilation
  • (2007) Tallinn XIV International Print Triennal: Tallinn City award
  • Annual Paintings award of Estonian Artists Association
gollark: Wait, what would we actually find out?
gollark: Launch *us* or a probe? I vote yes for the probe.
gollark: We could start on the ~~giant lasers of death~~ solar power system of peace, though it seems that most of our stuff is self-powered anyway.
gollark: On the one hand, you can get more miners. On the other, they have to ship everything back, and coordination/control is a problem.
gollark: Come to think of it, it would make more sense to only have a few universal constructor factories and have them produce non-replicating miner probes.

References
  1. L. Lapin (1997) "Kaks Kunsti"
  2. L. Lapin (1997) "Kaks Kunsti"
  3. (1996) "Eesti kunsti ja arhitektuuri biograafiline leksikon"
  5. L. Lapin (2003) "Avangard", Tartu Ülikooli Kirjastus, Tartu, lk 23
  6. "Avangardist Leonard Lapin". Postimees (in Estonian). 9 February 2008.
  7. "Calendar of Events: Exhibition: POPkunst Forever!", Eesti Kunstimuuseum
  8. L. Lapin (2003) "Avangard", Tartu Ülikooli Kirjastus, Tartu, lk 22
  9. E. Lankots (2014) "Moodsa arhitektuuri kriitiline historiograafia. Modernsuse käsitlused Leo Gensi ja Leonhard Lapini arhitektuuriajaloolistes tekstides 1960.—1980. aastail", doktoritöö, lk 106, 108
  10. "Eesti kunsti ja arhitektuuri biograafiline leksikon" (1996) lk 249
  11. M. Komonen (ed), Nine Architects from Tallinn, Museum of Finnish Architecture, Helsinki, 1984.
  12. E. Lankots (2014) "Moodsa arhitektuuri kriitiline historiograafia. Modernsuse käsitlused Leo Gensi ja Leonhard Lapini arhitektuuriajaloolistes tekstides 1960.—1980. aastail", doktorate dissertation
  13. M. Kalm (2002) "Eesti XX sajandi arhitektuur", lk 389, 394
  14. Andres Kurg, "The turning point in 1978 – Architects of the Tallinn School and their late Socialist public", in Ines Weizman (ed.), Architecture and the Paradox of Dissidence, Routledge, London, 2013.
  15. L. Lapin, "Pimeydestä valoon", 1996
  16. Art Museum of Estonia Digital Collection
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