Music and architecture are expressions of the same art, the art of thinking.

The Rakvere project is based on this relation between music and architecture. Although modern in expression, the new building is composed of clean cut lines and simple forms that remind us of Corbusiers concept of the building. Simple is not monotonous, simple is powerful. The geometrical ratio of Corbusiers strip window and the garden roof find their place in the architectural composition of the new building. Diving a little in the troubled waters of theory, it is not hard to notice that the functional typology theatre/ concert hall integrates two very different types of spaces: the extravert space of the foyer and the introvert space of the hall. The foyer is the visitors first contact with the inner building. Its approach is diametrically as is usually is, as it stands as a receiving space, as a lounge and as a performance corner with an integrated cafeteria. All of the above, functions only in relation with light. In this situation the bonus is represented by the two storey curtain wall composed of light boxes which illuminate at night and act as double glass panels in daytime. The glass curtain allows visual and physical access to the small garden between the old and the new building. Light is strategically allowed into the art gallery through four strip sky-lights. The western wall, although it looks light-permeable, it actually is opaque. Its geometrical pattern becomes alive at night with help from light sensors, powered by solar panels situated on the roof top. The introvert space is represented by the concert hall which by its own function is an enclosed space bearing no differences in wall planes to better ensure a good sound quality. The introvert function of the concert hall is also projected on the walnut wood siding faade. The rectangular shape of the tower is recurrent with the shape of the concert hall. The structure of the new building is a mix of concrete frames, concrete walls and metallic joists. In the lobby area the joists are combined with the concrete columns by joists cradles. This happens also in the second lobby area, in the back of the building. The rest of the structure is composed of concrete walls and frames. In order to observe the EU regulations on eco-friendly technologies the sound proofing and insulations is made of eco cells. The lights on the perforated western wall and the light boxes on the eastern wall are powered by solar panels that charge automatically during the day. Also the new building has a heating system based on a heat pump with sensors placed in the ground, used to measure temperature. The main problem was the connection between the two structures, the way in which the visitor sees them together and the transition between them. The method employed is simple and efficient. Using a system of walls and flat roof we created the sensation of a light tunnel with cinematic attributes overlooking the small garden. Similarly, every volume sheltering many smaller functions that need to be harmonized together in a large space, for a wide variety of public, needs a dialogue between the objects it contains and their wrappings visible to the city. There were no modifications brought to the churchs exterior to better emphasize Alar Kotlis work. Still, on the inside our concept implements two sonic treated walls that give a better sound quality. The same effect as in the new building was created to separate two spaces: extrovert and introvert. The extrovert space is represented by circulations illuminated by the original windows, while the introvert space is represented by the concert hall. In keeping with the EU regulations on heritage buildings there were no alterations made to the bearing structure of the church. The modern building with its lively colours, various materials, boldly embraces its design alongside the former church, not for a moment shadowing the historical building. Inside, the space is generous and welcoming. The glass panel walls allow natural light to invade and transform the interior

space. The difference between day and night is underlined by the artificial shadows thrown by halogen spots and also by the glass panels that gain the role of light boxes during the night. The entire building reminds us of the lines used in the 30s, and observes the history of the place and also increases the cultural value of Vabaduse Square. The western wall is transformed in a perforated wall by light boxes formed of panels with circular holes and different coloured light sources that transforms the night in a magical light show. The circular pattern, symbolizing the musical notes on a portative, is as mathematical as a music composition. Everything is based on repetition algorithms, symbolical geometry and, most of all, harmony which is a purely mathematic concept, in accordance with Fibonnaccis view. The urban element of the present project plays a very important part in the development of Vabaduse Square. When permitted to reconfigure an existing space, one must bear in mind that preserving its original landmarks is of the at most necessity. In this case all of the six landmarks were not over shadowed by urban and landscape components. In our opinion, the viable solution was, as it always is, in the middle. The center of Vabaduse Square provides the perfect 3600 view of the above mentioned landmarks. This is why our proposal is that we build the new public building in the very center of Vabaduse Square occupying approximatively a third of the lot. The remaining two thirds will be treated as a public park and a small portion of it will be a leisure space. Because of the water level in the ground, we can only build one underground parking level (under the churchs annex). The rest must be distributed on the perimeter of the square. In order to achieve the needed serenity and light traffic vector, elements that will further embellish this square, a multi-level parking should be constructed. This underground parking should cope with the needs of the new public building, of the concert hall and of the annex. The new public building has an intriguing shape, defined by the intersection between two halves of a diamond and two rectangular prisms. The new public building along side the concert hall and the annex define a triangular plane of vertical dominants. As the new public building has unusual features it is imperative that we keep the landscape elements as neutral as possible. Still, this reconverted space with green grass, small groups of trees miniature flower arrangements, playgrounds and benches, would surely provide all the needed elements for a leisure afternoon. The entire composition is based on simple forms such as rectangular prisms and half tubes, or reduced to simplicity: a composition of lines and circles.

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