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1

JOHANN DANIEL FELSKO'S CONTRIBUTION TO DWELLING HOUSE CONSTRUCTION IN THE 19TH CENTURY (Johana Daniela Felsko ieguldijums dzivojamo eku celtnieciba 19. gadsimta)

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Lace D.
Materiali Latvijas makslas vesturei
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2004
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vol. 4
81-94
EN
Publications on 19th-century dwelling architecture in Riga so far have been focused on particular periods. But the issue is not yet examined completely. The article deals with Riga city architect (Stadtbaumeister and Stadtarchitekt) Johann Daniel Felsko's contribution to design, construction and reconstruction of dwelling houses from the 1840s to 1880, invoking analogies detected in Riga and Europe. The study is based on unpublished and unknown original projects that are kept in the Latvian State History Archive, the Riga City Construction Board Archive and the Latvian Museum of Architecture. In terms of style Felsko's dwelling houses are mostly close to Neo-classicist principles and decorative elements that were typical of his early period and later were supplemented with a gradual adoption and use of stylistic and spatial options provided by Historicism. In the 1840s when Felsko started his professional career, having completed his studies at Copenhagen Royal Academy of Art, dwelling houses in Riga were designed and constructed according to exemplary facade albums worked out in Russia. Information on projects accepted at that time has survived in the City Construction Board records where the building's measures and construction foremen are specified. This situation is clearly exemplified by Felsko's approval to build a private dwelling house at the corner of Elizabetes and Kalku Streets. During the next decade construction in Riga was significantly affected by the City port blockade caused by the Crimea War. This favoured a total concern with reconstruction of buildings. Several trends are to be singled out. One of them is related to ground floor reconstructions for the benefit of the owner's business activities. In particular cases a partial or complete removal of historical decorative elements has been detected. The second trend meant extension and setting up of conveniences. Wings of buildings designed after exemplary facades were supplemented with a corridor along the width of the building with an entrance door from the street.
2

RIGA PLANNING IN THE MID-19TH CENTURY: REALITY AND ASPIRATIONS (Rigas planojums 19. gs. vidu: esosais un velamais)

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Lace D.
Materiali Latvijas makslas vesturei
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2007
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vol. 6
36-59
EN
The article was intended to reconsider Riga city plans as well as projects to follow the ideas, inspirations, proposals and conditions that became the basis of the city planning in the second half of the 19th century. The chronological frame of the period under scrutiny is set up by the Riga plans prepared in 1843 and 1864. The situation in urban planning changed significantly over twenty years but some restrictions remained in place. On 2 March 1856 the Riga City Council got an official permission from St. Petersburg to pull down Riga fortifications. The Organising Commission of Fortification Removal worked out a theoretical programme oriented towards fostering of commerce, trade increase in the port and transformation of the fortification moat into a canal with free-standing public buildings. This strategy is examined in the context of European urban planning solutions. Historical plans and archival materials testify to an orientation towards Northern German experience. Riga city architect Johann Daniel Felsko with his assistant, civil engineer Otto Dietze worked out the technical project till 4 January 1857. It envisaged a glass-covered shopping passage by the River Daugava, as well as public buildings in the place of former bastions and ravelins opposite the St. Petersburg suburb but a district of trade and warehouses of regular layout was to be built in the South-East of the city (opposite the Moscow suburb) behind the canal, standing between the Railway Station and the River Daugava. Felsko and Dietze expected six years and 1,5 million roubles being necessary to realise these works. Because of bureaucratic formalities and scarcity of financial resources still other projects were designed (1858, 1860, 1862) that clearly manifested a wish to reduce costs, carry out just the most indispensable removal of fortifications and retain as much as possible the existing embankment line of the fortification moat. Most ardent discussions and opinion shifts were related to the layout of port basin near the warehouse district that finally did not appear in the initially planned volume. Riga city fortifications were abolished from 15 November 1857 till 31 December 1863.
3

LATEST RESEARCHES ON VIDZEME PROVINCE ARCHITECTS IN THE 19TH CENTURY (Jaunakie petijumi par Vidzemes gubernas arhitektiem)

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Lace D.
Makslas Vesture un Teorija
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2005
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vol. 4
38-52
EN
Files containing projects, plans, sketches and draughts by little known or even forgotten 19th century architects have turned up, examining the Riga City Council Master Builder and Chief Architect Johann Daniel Felsko's (1813-1902) creative legacy and searching for his projects at the Latvian State History Archive Vidzeme Province Building Board collection No. 10. Altogether works by 24 architects, engineers and draughtsmen have been found in this collection. The overview of already known and newly discovered architects' activities is disproportionate; some draughts or their copies have survived in fragments, in other cases correspondence on building licences testifies to construction activities. Projects mentioned in this article for the most part relate to the period from 1852 to 1865. They give an insight into construction history of Riga as well as Cesis, Limbazi and Dorpat (now Tartu in Estonia). The material is complemented by particular reconstruction and new construction projects for buildings around Riga and Cesis. The 1850s are commonly regarded as a total stagnation period in the history of Latvian architecture and construction, as Crimean War influenced economic life in Riga as well. It is possible that projects discovered in the collection No. 10 will make one to reconsider this conclusion. Plans, draughts and sketches of dwelling houses from the 1860s allow tracing gradual replacement of wooden buildings with stone edifices. But projects from the 1870s-1890s are rarely found there. These projects are especially important because buildings constructed according to them have not always survived till our days, many perished during the 20th century wars. Their visual reconstruction can significantly add to or even alter the overall scene of the 19th century architecture.
4

RIGA CHIEF ARCHITECT JOHANN DANIEL FELSKO AND THE PINKI ST. NICHOLAS'S CHURCH (Rigas pilsetas buvmeistars Johans Daniels Felsko un Pinku Sveta Nikolaja baznica)

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Lace D.
Materiali Latvijas makslas vesturei
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2003
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vol. 3
44-54
EN
The old, deteriorated wooden churches were replaced with new stone buildings in the Riga Patrimonial District during the 19th century. Churches at the Pinki estate (Pinkenhof) that belonged to the Riga city were designed by the Riga chief architect and builder Johann Daniel Felsko (1813-1902). In 1856, Felsko designed the project of the St. Nicholas's Church in the so-called semi-circular arch style (Rundbogenstif). It was a hall church with a nave, two aisles, a polygonal apse and a Western tower. The complicated arrangement of premises at the Eastern side of the church coincides with designs of the Danish Neo-Classicist Christian Frederik Hansen (1756-1845), Felsko's instructor at the Copenhagen Royal Academy of Art. In 1862 the Cash Board of the Riga City Council examined the second, Neo-Gothic project of the St. Nicholas's. Considering the previous objections, the architect had prepared a design with a simple planning and ascetic, early Gothic decoration. If the project was accepted in general, except some small comments on decoration, financial and technical problems were just coming to the fore. In 1864 the parish members wrote to the City Council that it is impossible to build the church with their own powers. The State Inspectorate for Heritage Protection of Latvia keeps the third variant (photocopy) of the St. Nicholas's project. Dated by the year 1871, this one was used for building of the church. The architect had especially elaborated on the composition of tower and the arrangement of decorative elements. The foundation stone of the Pinki St. Nicholas's Church was laid on May 25, 1872, and the consecration took place two years later, on June 16, 1874. It is a hall church with a Western tower and a polygonal apse with symmetrical extensions. Rubble was used as the main building material but decorative elements are made in red brick. The church interior has retained most of Felsko's ideas from the first project - rood-screen (Lettner), direct ascent from the priest's dressing room to the pulpit and elevation in the covering of the central part of the nave.
5

JOHANN DANIEL FELSKO AND RECONSTRUCTION OF THE SMALL GUILD HALL IN RIGA (Johans Daniels Felsko un Mazas gildes parbuve Riga)

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Lace D.
Makslas Vesture un Teorija
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2004
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vol. 3
17-28
EN
The basic publications on the Riga Small Guild (or St. John's Guild) so far have not considered the different versions of the reconstruction project offered by the architect in the 1860s. However, the history of the Small Guild published in 1902 says that City Architect (Stadt-Architekt) Johann Daniel Felsko (1813-1902) had repeatedly prepared three such projects. An unrealised project, intended to supplement the old building of the artisans' guild with Neo-Gothic decoration, has survived from 1858. Small Guild members wanted more spacious premises and even considered choosing a construction site on Riga's ring of boulevards. In spring 1862, the Small Guild Building Commission invited Stadt-Architekt Johann Daniel Felsko to provide an estimate for a new building on the historical site of the Small Guild Hall. In spring of 1862 Felsko submitted a particularly splendid Neo-Gothic project. It envisaged a monolithic three-storey building with a prolonged, rectangular basic planning. The main entrance portal was placed in the longitudinal facade. Felsko's decorative finish for the second project is much simpler. Events took a turn in spring 1864. Felsko was still working on his third project but at the same time he signed agreements with particular groups of craftsmen on the construction works of the Small Guild's new building. The project was approved on 3 March 1864. The third project was realised without significant alterations. Examining the project, one discovers the compromise between the architect's respect for the requirements of the commission and his opponents while retaining his initial conception as far as possible. The decades after the consecration of the building have proved that architect Felsko's initial solution had been farsighted. Unfortunately, the financial situation and opposition's stance stopped its realisation. But the completed building became too small and competitions for its enlargement had to be organised again. Unfortunately 20th century wars wrecked these plans and the guild halls retained their 19th century appearance.
6

NEO-GOTHIC ALTARS IN LATVIAN LUTHERAN CHURCHES (19. gadsimta neogotiskie altari Latvijas luteranu baznicas)

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Lace D.
Materiali Latvijas makslas vesturei
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2008
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vol. 7
120-136
EN
The article deals with a subject that is little known in Latvian art history. Exploring Lutheran churches, more than 50 Neo-Gothic altars turned up that can be divided in three typological groups: altar retables framing altarpieces, monolithic compositions from three pointed arches and rood screen-type altars that separate the congregation premise from the altar part. The earliest Neo-Gothic altar was set up in 1820 and consecrated at the Riga Dome Cathedral. Its project was designed by Johann Wilhelm Krause, the Professor of Architecture at Tartu University, in 1816. Riga Dome altar became a pattern to be followed in four other Neo-Gothic altars: in Kalsnava, Vecpiebalga etc. Altars that combined Classicist traditions with fresh Neo-Gothic influences, novel for this region at that time, appeared in Latvia from 1820 to 1845. In the early 1850s, as knowledge in Neo-Gothic trend increased, altar compositions were created, using Gothic decorative elements only - pointed arches, wimpergs (ornamental gables), crockets, pinnacles, finials etc. The Rujiena altar made in 1855 is based on the idea of perspectival portal that is told to be derived from the Parnu St. Nicholas's Church. But Rujiena altar has become the pattern for Smiltene and Ergli Church altars. Altars were often designed by famous architects. For example, Cesis altar is related to the St. Petersburg architect Andrey Stackenschneider, Riga St. Peter's Church - to the Cologne Dome Building Master Vinzenz Statz. The vision of the altar composition was often included already in the new church project. This shows in the survived Neo-Gothic projects for Riga St. Gertrude's Church and Pinki St. Nicholas's Church by Riga City Chief Architect Johann Daniel Felsko. The altar set up in Riga St. Peter's Church starts the tradition of monolithic altars based on the late Gothic tabernacle altars when a subtle, open-worked composition decorated with finials, wimpergs and crockets topped the winged altar. Twelve figures of apostles found in Riga St. Peter's Church altar were derived from the early 16th century Visher family's work from Nuremberg - bronze sculptures for the Sebaldus Grave in the choir part of the Sebaldus Church.
7

SCHOOLS ON RIGA'S RING OF BOULEVARDS DURING THE 2ND HALF OF THE 20TH CENTURY (Skolas Rigas bulvaru loka 19. gadsimta otraja puse)

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Lace D.
Makslas Vesture un Teorija
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2008
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vol. 10
17-31
EN
A significant number of educational institutions were built on the newly created ring of boulevards in Riga after the demolition of the historical fortifications in the 2nd half of the 19th century. This article provides a systematic review and analysis of the buildings of this period based on their construction history, façade description and planning with references to analogies and sources of inspiration from European architectural history. The first buildings were those of the Riga Polytechnic Institute and Realgymnasium. Both featured the round arch style (Rundbogenstil) that was considered appropriate for educational institutions at the time. Buildings erected in the 1860s were derived from the architecture of Hanover and a school project was designed especially for Riga (1859) by the architect Ludwig Debo, the long-standing lecturer at the Hanover Polytechnic School. The planning principle with inner yards devised for educational institutions was used for the Realschule (arch. J. D. Felsko) and Orthodox Priests' Seminary building (arch. Heinrich Scheel) in the late 1870s. In the 1880s Reinhold Schmaeling was the Chief Architect of Riga. He combined raw brick with Neo-Renaissance architectonic elements and decorative motifs in his school façades. Schools in the ring of boulevards were designed and built by local architects. Although each of them had their own professional style, they followed the change of neo-styles and technological innovations brought by the epoch.
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