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1

Starp tipizāciju un individuālismu. Ernesta Štālberga projektētā Rīgas pilsētas blokmāja Lomonosova ielā 12

100%
Horsta K.
Makslas Vesture un Teorija
|
2020
|
vol. 24
43-62
EN
The Riga municipal apartment building built to Ernests Štālbergs’ (1883–1958) design at 12 Lomonosova Street is a classic example of Functionalism in Latvia. It demonstrates the attempts by Riga’s social democratic municipality to deal with the housing shortage and establish a new, progressive type of apartment building in the interwar period. Štālbergs’ apartment building is among the rare interwar-period buildings with intentionally exposed brick façades that link the Lomonosova Street building to the Schillerpark housing estate (1924–1930) in Berlin by Bruno Taut (1880–1938) as well as Vienna’s residential quarters of Rabenhof (architects Heinrich Schmid, Hermann Aichinger, 1925–1929) and Quarinhof (architects Siegfried Theiss and Hans Jaksch, 1924–1925). The building’s both longitudinal façades are stylistically different and show the transformation of Štālbergs’ signature style in the late 1920s – early 30s when he actively appropriated expressive means of modern architecture, at the same time looking back on the classical architecture important for his previous creative period. All apartments were fitted with well-considered kitchen furnishings designed by the architect. Ideas of the so-called Frankfurt kitchen can be spotted there, taking into account the needs of hygiene, ergonomics and rational sequence of workflows, also separating the “dirty” and “clean” phases of cooking. Štālbergs was already attracted by modernist ideas since 1927 but the apartment building built in 1930 became his first modernist project to be implemented. In line with his typical pragmatic approach, the architect has found useful elements in both architectural systems, the traditional as well as the modernist. Štālbergs’ professional maturity is evidenced by the fact that he was not a blind follower of the modernist style but searched for a way to adapt the new, progressive architectural phenomena to Latvia’s conditions.
2

Arhitekts un politika. Ernesta Štālberga dzīve un darbs

100%
Horsta K.
Makslas Vesture un Teorija
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2019
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vol. 22
23-39
EN
Ernests Štālbergs (1883–1958) experienced two world wars and six different political regimes one after the other. His biography is an obvious example of how fundamental socio-political shifts can affect not only the architect’s private life but also his professional output and even the work on particular objects. Štālbergs was born in Liepāja in 1883 and studied at the St. Petersburg Academy of Arts for a long period, from 1904 to 1914. This was partly related to financial problems as well as to political events, such as the Revolution of 1905. After graduating from the academy, Štālbergs stayed on in St. Petersburg and began to teach at Yelena Bagayeva’s private Women’s Higher Courses of Architecture. The academy was closed down after the Bolshevik coup of 1918; The Petrograd State Free Art Studios were opened in its place and Štālbergs began to head the master studio of architecture there. However, the new order in Soviet Russia was grotesque, so the architect returned to Latvia in 1922, taking an instructor’s job at the recently opened University of Latvia, Faculty of Architecture, where he headed his master studio of architecture for almost 30 years. In Latvia he could freely realise his ideas and designed various objects for both the university and the political elite but as a modernist, he saw architecture as a potential solution to social problems. The years of the Second World War were a tragic period in the architect’s life, especially the Nazi occupation from June 1941, as his wife was Jewish. The restored Soviet occupational regime held Štālbergs in high esteem at first, heaping him with prestigious posts and various honorary titles. However, as an ever more conservative version of Socialist Realism was on the rise, the architect’s modern, West-inspired ideas appeared unacceptable to Soviet ideology. Due to the political and economic situation and commissioners’ changing interpretations of architecture, Štālbergs’ realised works reveal a much more conservative and modest side of his creativity.
3

Veselības pils. Tērvetes sanatorijas būvvēsture, arhitektūra un dizains) Source: Mākslas Vēsture un Teorija (Art History and Theory

100%
Horsta K.
Makslas Vesture un Teorija
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2017
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vol. 20
70-81
EN
The Tērvete sanatorium of the Latvian Red Cross (LRC) was the largest and the most modern newly built sanatorium in the interwar period in Latvia. It was also the largest sanatorium in the Baltics and was able to accommodate 250 patients. From 1918 to 1940 the Latvian Red Cross was the most important and wealthiest humanitarian organization in Latvia. As a result of successful and well considered commercial activities, the LRC could afford to construct modern buildings with the characteristics of modernist architecture and which met the requirements of construction development at that time. Examples include the Tērvete sanatorium (1930–1932), the orthopaedics workshop and medicines storehouse in Riga (1933–1934), the contagious diseases unit in Rēzekne hospital (1933–1934) and the nursing school in Riga (1935–1936). All of them are characteristic examples of Latvian Functionalism and were built by the eminent modernist architect Aleksandrs Klinklāvs (1899–1982). The sanatorium for the treatment of pulmonary tuberculosis was established in the countryside village of Tērvete because of the extensive surrounding conifer groves, hilly terrain and the specific climate of the region (the lowest rainfall level in the country and many sunny days). The structure of the building was characterized by features of Functionalism – planning according to function, horizontal spatial and façade composition, ribbon-like fenestration with large windows and the use of reinforced concrete. A regional approach to modernism is also visible, which permits a comparison with the Paimio Sanatorium in Finland designed by architect Alvar Aalto (1898–1976). In both cases the architecture was closely linked with the surroundings; for example, pine groves were kept very close to the building and the architectural composition blended harmoniously with the landscape. However, the sanatoriums do not resemble each other either in terms of volumes or in spatial configuration. The Tērvete sanatorium also reveals the principles of the Latvian local cultural milieu – the building shows the visible impact of the nearby Classicist manor houses in Zemgale.
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