Eesti NSV Riiklik Kunstiinstituut, 1966
State Art Institute of the Estonian SSR, 1966
Mait Summatavet on sisearhitekt, õppejõud ja disainer, Eesti Kunstiakadeemia emeriitprofessor. Ta on Eesti tuntumaid valgustimeistreid, kelle tööde hulgas on ka mitmeid tervikinterjööride kavandeid. Oma loomingus on ta järginud funktsionaalsuse ja konstruktiivse selguse põhimõtet. Ta kuulus Viru hotelli (1972) interjööri autorite kollektiivi ja kavandas Ugala (1976) teatri siseruumid. Summatavet oli omal ajal ka üks silmapaistvamaid näituste kujundajaid. Pärast Eesti taasiseseisvumist on ta aidanud kaasajastada Eesti Panga hoonete siselahendusi. Eesti Kunstiakadeemias on Summatavet õpetanud peamiselt disainereid.
Mait Summatavet is an interior architect, instructor, designer, and Professor Emeritus at the Estonian Academy of Arts. He is one of Estonia’s most renowned lighting masters, whose works include a number of full-interior designs. Summatavet adheres to the principles of functionality and constructive clarity. He was a co-author of the interior of the Viru Hotel (1972) and also designed interior spaces for the Ugala Theatre (1976). Summatavet also used to be an outstanding exhibition designer. After Estonia’s re-independence, he helped to modernise the interior solutions for the Bank of Estonia buildings. At the Estonian Academy of Arts he has primarily trained designers.
Intervjuu. Mait Summatavet
Interview. Mait Summatavet (excerpts)
Design that sells is not necessarily good design. It is, rather, a matter of fashion.
It is the idea that counts, and the timing. Because good design should, in essence, be an invention.
I like things that come with a history. If you have a house of architectural value, it is a shame, if you buy it and then want to remake it according to your own vision. If the house is valuable, you are the one that needs to adapt to it. This is how designers and creative people must work – they have to adapt to people. The better they adapt and the greater the aesthetic and functional value, the better the result.
In our trade, top-class work means that if you enter a room, you feel nice, you feel that the room lifts you up a bit. It probably comes down to some kind of rhythm, like in music. The room has to have a tangible rhythm to it, recognisable and pleasant colours, the light has to feel pleasant for people. To sum it up – you feel good in a well-designed room, the room allows you to work and does not distract you, you feel lifted when you enter.
I see no difference between the creative processes of a musician, an architect, an interior architect, a writer – the internal foundation is the same. If you have nothing to say then it does not matter how talented you are – you can create pictures, not art. The same applies to lighting – you may be able to produce lamps but creating lighting is much more complicated.