Leonhard Lapin

Leonhard Lapin studied at Estonian Academy of Arts. The recorded working language is Estonian. Work by Leonhard Lapin is recorded in the collections of Art Museum of Estonia, Finnish National Gallery, City of Pori art collection, Manuscript magazines at the Estonian Cultural History Archives and Swedish Centre for Architecture and Design. Distinctions recorded are Order of the White Star, 4th Class.

• Name — Epp Haabsaar • Born — 29 December 1947 • Birthplace — Räpina, then part of Estonian SSR, Soviet Union • Died — 28 February 2022 • Education — Estonian Academy of Arts

A professor emeritus at Estonian Academy of Arts, Lapin was a forerunner of the avant-garde movement in Estonia, and he influenced Estonian art and architecture through his works and writings during the postwar 20th century. Lapin was active in functionalism, suprematism, technological futurism, and pop art. As an artist, he created graphics, paintings, performances, and happenings, and he published several articles, books, and poetry collections. Lapin influenced many students as a teacher; he regarded architecture and art mainly as a spiritual activity. He died on 28 February 2022, at the age of 74. After his death, he was cremated and his ashes were scattered over the river in Pirita.

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

Born in Räpina, 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). On the father's side of the family, men worked as tailors. Mother worked as the director of a sewing manufacturer. That is why Lapin was thinking to study fashion at the Estonian Academy of Arts, but his eldest brother told him to study architecture. The family name Lapin comes from the mother's first husband Rūdolfs Lapiņš, an ethnic Latvian. After Russification the surname was changed into Lapin. Lapin became close to Oriental Association and Buddhist mahamudra teachings, which became the base for his future composition teaching method. 1969–1982 he was married to Sirje Runge. Later he married the architect Kristel Jaanus. In 1991 their daughter Anna Maria was born and in 1996 son Aleksander.

• Illustration — Lapin in 2001

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 slightly older architects Veljo Kaasik and Toomas Rein. They called themselves "The Tallinn Ten" but they can be put under wider term "Tallinn School" 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. "Tallinn School" was of 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, as a future architect he got acquainted with the functionalism of the 1930s, that had strong disapproval from the Soviet regime. But Lapin also ardoured early Russian avant-garde art and Russian constructivism, so he could not be accused of treason by the government. The new term neofunctualism grew out of Lapin's plastic architecture with machine aesthetic. 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 of 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 "Machines". A good example is Villa Valeri I, located in Laagri, Estonia, that is an equivalent of his work "Machine-architecture III or Villa Valeri I" (1976). 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 in the Estonian 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."

• (1970) "Becoming One With the Star" series • (1972) "Machines" 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

• (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 biennial • (1995) "MOnument for Second World War Victims on Tõnismägi (Tallinn)" competition project, I prize • (2003) "Blue-Black-White Clock-Monument" monument of Freedom Clock