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1

18. gadsimta rīdzinieku modes tērpi Johana Kristofa Broces zīmējumos

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Parute E.
Makslas Vesture un Teorija
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2016
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vol. 19
6-21
EN
The legacy of the student of Baltic local history Johann Christoph Brotze (1742–1823) has always attracted researchers of 18th century Latvia’s culture and art. His collection in ten volumes, ‘Sammlung verschiedener Liefländischer Monumente, Prospecte, Wapen, etc.’ (below Monumente) in the Academic Library of the University of Latvia contains visual documentation and descriptions of townspeople’s everyday life, customs, entertainment and social transformations. While examining the visual specificities of clothes worn in late 18th century Riga, the author of this article discovered many locally peculiar and interesting evidences of city dwellers’ wish to follow the latest fashions of the time. The first volume (Riga Views, People and Buildings, 1992) of the academic publication of Brotze’s legacy ‘Zīmējumi un apraksti’ (Drawings and Descriptions), with materials from the 3rd volume of ‘Monumente’, gave a deeper insight into the clothing habits in Riga, revealing the meaning of the visual message of attire in the cultural-historical scene created by late 18th century Rigans and city visitors. The transition from Rococo to Classicism became the leading factor in the fashion trends of Vidzeme at the time, bringing corresponding motifs to art and fashion. The ethnic and social composition of the population in the second half of the 18th century significantly influenced Riga’s visual image – as seen from Brotze’s drawings, a rather motley and peculiar scene emerged here, manifesting both topical European phenomena and a mix between various ethnic elements and the fashion of the day. Drawings of city dwellers’ clothing in Brotze’s collection testify to the diversity of Riga in the 1770s–1790s. This scene displays the originality of townspeople’s clothes, testifying to uneven changes in the fashion field. In some cases there are just some modern details but other Brotze’s drawings show a Rigan whose costume represents the current fashion tendencies in Western Europe.
2

Rīgas pilsētas gāzes fabriku arhitektūra 19. gadsimta otrajā pusē un 20. gadsimta sākumā

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Karlštrēma I.
Makslas Vesture un Teorija
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2015
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vol. 18
34-47
EN
As an essential element in urban development, Riga’s first gas factory complex (1859–1862, Adolf Kühnell, Paul Stephany) was allocated a plot of land along the city canal. It was surrounded by other important public buildings, which were built inside the ring of boulevards that surrounded the old town. Nevertheless, the location limited the further expansion of gasworks and such buildings were later moved out of the city centre to foster the development of this branch of industry. Firstly, they appeared on the left bank of the Daugava River, like the gas station in Mūkusala (1872–1873, Karl Felsko), and then the second gasworks was established in the Moscow Suburb (1873–1875, Emil Kurgas), expanding over several decades. From the 1860s till World War I, six gasholders in all were constructed in Riga. The gasholder was the largest structure of a gasworks – the first industrial building created as a result of laboratory experiments. Both of Riga’s gasworks had telescopic holders. A tendency to build so-called gasholder houses or architectonic shells as independent superstructures enveloping the gasholder from the outside, spread in the early 19th century Europe on the assumption they lessened security risks. This turned out to be wrong and no such superstructures emerged in Great Britain from that time on. However, this practice continued elsewhere in Europe where climatic conditions were more severe. Since the gas factory buildings in the first place were of a utilitarian nature, the aesthetic aspects of their architectural design may have played a less important role. In order to keep construction costs low and avoid complaints by local residents, it was not advisable to erect the gas factory buildings in the most luxurious areas of the city centre; suburbs were to be preferred. Nevertheless, Riga’s first gas factory building not only stood in the very centre, between the old town and the boulevard zone, but also manifested a sophisticated architectural solution in harmony with the location. According to the current trends of the age, the façades of buildings were accomplished in the Tudor version of Neo-Gothic style topical in Riga at the time. Such a choice was possibly inspired by the client’s ideas of social prestige as well as the context of the surroundings: in the late 1850s – early 1860s, the city canal greenery was envisaged in line with the landscaped park according to English traditions.
3

NEOCLASSICISM IN THE ARCHITECTURE OF RIGA (Klasicisms Rigas arhitektura)

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Zilgalvis J.
Materiali Latvijas makslas vesturei
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2004
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vol. 4
57-72
EN
In the 1770s Baroque and Rococo styles were replaced by Neoclassicism in Riga architecture. The first public building that embodied the new stylistic ideas was the Town Hall (1750-1765, arch. Johann Friedrich von Ettinger). In the 2nd half of the 18th century Old Riga started to change more rapidly. In 1785 Mater Dolorosa Catholic Church was erected, a new volume was added to the Riga Castle, creating a new facade (1783, arch. Johann Peter Bock), and a new square - the public centre of the town - was laid out in front of the castle. Adjacent buildings were supplemented with the Imperial Lyceum at Castle Square 2 (1785-1787, arch. Matthias Schons). In the Latvian architecture Neoclassicism has spilt in two trends. The first trend was influenced by the German and Russian Neoclassicism while the second was the so-called Civic Neoclassicism that had grown out of the local cultural-historical and social conditions. The main representative of the Civic Neoclassicism was Christoph Haberland (1750-1803). He designed dwelling houses at Miesnieku Street I (1779), Pils Street 6 (1795), Maza Pils Street 1 and 3, Teatra Street 6 (1785), Zirgu Street 28, merchant Morrison's house at Smilsu Street 5 (1787-1794), Johann Samuel Hollander's house at Skunu Street 17 (1787) and others. An important event in Riga was the library reconstruction at the Eastern wing of the Dome Cloister ( 1778-1787, arch. Christoph Haberland) that resulted in a spacious two-floored hall. Johann Hermann von Vietinghoff in his turn created the Musse House at Riharda Vagnera Street (I 78 I 1782, arch. Christoph Haberland). It was a kind of club for aristocracy where the first Riga theatre was housed. The development of Neoclassicist architecture in Riga influenced also sacred buildings, like St. Gertrud's Lutheran Church (1779-1781), St. Peter and St. Paul's Orthodox Church in the Citadel (1781-1785, arch. Sigismund Seege von Laurenberg) and Katlakalns Lutheran Church (1791-1792, arch. Christoph Haberland). As towns of the Russian Empire developed, there was a need to create a stylistically and compositionally unified environment. For this reason albums of exemplary facades were published in 1809 and 1812. They were used in Riga up to 1850.
4

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

88%
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.
5

VICARAGES IN RIGA (Rigas pastorati)

88%
Zilgalvis J.
Materiali Latvijas makslas vesturei
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2004
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vol. 4
73-80
EN
Vicarages of Lutheran parishes, presbyteries of Catholic priests and houses of Orthodox priests make up an important part of the Latvian cultural heritage where specific traits of architectural development and traditions as well as events of cultural history are intertwined. Usually vicarages have been built together with parish churches, for example, the vicarage of Riga Reformers' parish whose origins are found in 1745. The period of Neoclassicism is typified by St. James' Church vicarage (1733, 1878, 1882), Mater Dolorosa Catholic Church presbytery (1780) and the Lutheran vicarage in Tornakalns (1st half of the 19th century). An early example of Neoclassicism is also St. Peter and 5t. Paul's Orthodox Church priests' and servants' house in the Citadel (1783-1785). Eclecticism is also strongly present In the architecture of Riga pastors' houses, for example, St. Martin's Lutheran Church vicarage at Martina Street 3 or St. Paul's Lutheran vicarage (1898, architect Hermann Hilbig). An outstanding example of Neo-Gothic and the so-called brick style is St. Francis' Catholic presbytery that includes also congregation and school premises (1889 1892, arch. Florian von Wiganowsky). Priests' and servants' house of the Annunciation Orthodox Church at Turgeneva Street 21 (1896, architect Alexei Kizelbash) stands out with its impressive volumes. St. Trinity Orthodox Cathedral priest's and servants' house at K. Barona Street 126 features the so-called summer cottage style of the last quarter of the 19th century. The famous Flemish artist and architect Henry van de Velde has designed St. Peter's school and vicarage building in Riga, Valnu Street 20 (1912). Another important figure was the local architect Wilhelm Bockslaff who designed the vicarage for the German congregation of Riga St. Martin's Lutheran Church. In the 1930s St. John's Lutheran Church vicarage is worth of attention (1930 1931, arch. Eizens Laube). A number of historically and architecturally singular priests' houses have survived in Riga. Some of them are real pearls of architecture that have retained their original material substance and look.
6

Baroka laikmeta dzīvojamais nams Rīgā, Miesnieku ielā 8: Būvvēsture un mākslas vērtības

88%
Ancāne A.
Makslas Vesture un Teorija
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2015
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vol. 18
6-17
EN
The house at 8 Miesnieku Street is among Riga’s most outstanding late 17th – early 18th century monuments that have come down to us. This house has fortunately retained its initial basic volume despite several reconstructions and changes of interior layout. Several periods stand out in the construction history of the house at 8 Miesnieku Street. Marten Kröger (also Kruger) acquired the building plot in September 1700 and built a house there the same year. After Kröger’s death in 1702, it was inherited by his son-in-law, Small Guild craft member Christian von der Heyde. There is information that the builder was the city master mason Hinrich Hänicke (also Hönnicke). The house had three floors of dwelling space with office premises on the ground floor, ceremonial and living quarters on the first and second floor as well as two attic floors for the storage of goods and a basement. Both façades feature four pilasters in the Tuscan colossal order along the first and second floor, supporting a very protruding, profiled cornice. The decorative finish of the façades is enhanced by corner rustication. The limestone portal initially faced the main Miesnieku Street but in the early 19th century, it was relocated to the Mūku Street façade. The portal represents the so-called decorative group in which the interpretation of order elements is decorative rather than tectonic. The Miesnieku Street façade has a pompous two-level gable with a rich cascade of volutes and smooth pilasters. This design represents the most lavish type of Riga’s volute gables in the Baroque period architecture. Such an array of elements pointed towards Northern Dutch innovations in residential houses introduced by the noted architect Philips Vingboons around the mid-17th century. Initially the interior could boast of an opulent finish that was subsequently lost in numerous reconstructions and repairs during the later centuries. The plafond painting from the first floor ceremonial room, dismantled during the reconstruction of 1931, is one of the best preserved monuments of Riga’s Baroque interiors, demonstrating the period’s typical local striving towards luxury based on French examples adapted via Sweden and Northern Germany.
7

Rigas pilsetas udenstornu arhitektura 19. un 20. gs. mija Eiropas arhitekturas konteksta

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Karlstrema I.
Makslas Vesture un Teorija
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2013
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vol. 16
37-48
EN
In the 19th century European cities faced water supply problems caused by industrialisation and urbanisation; in most cities, including Riga, much attention was paid to the issue in the late 19th - early 20th century when the majority of water towers were constructed. Water towers represent a typical 19th century phenomenon; it was quite short-lived in the history of architecture but notable for the manifold architectonic and stylistic solutions. Riga’s municipality supplied the city inhabitants with pure drinking water before the First World War, constructing two ground-water lines from Bukulti and four water towers in total: two water towers in the Moscow Suburb in the late 19th century (1897-1899) and two early 20th century water towers - in Agenskalns (1909-1910) and in Ciekurkalns (1912-1913). Both of these functioned throughout the 20th century and are still standing today. The tanks of all four Riga’s late 19th - early 20th century water towers are built according to Intze type 2; in addition, Otto Intze himself designed the water tower for the Moscow Suburb. As the water tower was a relatively new type of building, there were no architectural standards and this lack of examples was compensated for by drawing parallels with the surrounding buildings or other historical types of constructions, according to Historicist practice. Also in the late 19th century water tower façades most often conformed to Historicist stylistics but the rational spatial structure - the highly raised water tank - did show more and more in the building’s outer appearance. During the period of Art Nouveau, water towers acquired new architectonic solutions and more abstract forms; new constructive and artistic means became widespread, such as simplifying, rounding and softening of forms, introduction of new materials and constructions, and demonstration of these on the façade. Forms reflected the building’s functional, constructive framework that was aestheticised as well.
8

THE MOST PROMINENT EXAMPLES OF DUTCH CLASSICIST ARCHITECTURE IN RIGA: REUTERN HOUSE (Holandiesu klasicisma arhitekturas spilgtakie piemeri Riga: Reiterna nams)

63%
Ancane A.
Makslas Vesture un Teorija
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2007
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vol. 8
5-14
EN
Stylistic description of the most excellent examples of Riga 17th century architecture in art literature, including Reutern House, is often limited to ascribing them to Baroque. When describing the style, one should refrain from strict classifications as both classicised Baroque and Classicism of the Baroque epoch may be involved. Nevertheless, remembering the typical formal features of Dutch Classicist or Palladian architecture, it would be more appropriate to consider it as a specific Northern European phenomenon, a very pronounced expression of Classicism within the chronological boundaries of Baroque. Compared with the works of Northern Dutch classicists, one of the typical features of Reutern House is the emphasised contrast between the smooth, classicist-type façade solution and the finish of the entrance portals. Reutern House was a quite ambitious project for the 17th century Riga town environment; it can be described as an outstanding example of Dutch Classicism, coinciding with Philips Vingboons' and Pieter Post's architectonic heritage and similar architecture in Stockholm, Reval (Tallinn) and Narva. The local specificity of Riga Palladianism consists in the presence of definitely Baroque elements in the façade finish - more than in Holland itself. The innovative contribution of master Rupert Bindenschu to the new-style dwelling houses should not be underestimated. Bindenschu's style was strongly influenced by the Dutch architects' constructive principles. The town's cultural environment was largely shaped by its links with Sweden and the political and economical background, but in Bindenschu's case, it seems direct links with the Dutch architectural heritage were involved.
9

Ziemeļu nacionālais romantisms mūra īres namu arhitektūrā Rīgā. Arhitekts Aleksandrs Vanags

63%
Libere A.
Makslas Vesture un Teorija
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2016
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vol. 19
32-47
EN
The aim of this article is to introduce the reader to the residential houses designed by Aleksandrs Vanags (1873–1919) in the style of Nordic National Romanticism, looking at not just the textbook examples but also at less well known buildings. Vanags has left a considerable legacy in the architecture of Latvia. Some one hundred buildings were constructed after his designs during the peak of his activity from 1906 to 1914. These were mainly multi-storey apartment houses in Riga and around forty private and public buildings outside Riga. The buildings examined in the article illustrate the flourishing and decline of Nordic National Romanticism that prevailed in Vanags’ work until this trend was progressively supplanted by Neo-Classicism. The layout of premises and organisation of amenities in Vanags’ projects were realised in line with the requirements of the time by providing maximum sunlight in the rooms and a window in every household premise in the large many-room apartments. As the layout of premises is conditioned by the commissioner’s means as well as the form and position of the building plot, Vanags’ apartment houses feature both typical and very original solutions for the period. Bays and risalits were used to diversify the building layout in the city centre, often creating a different layout for each storey of the house. During the period of Nordic National Romanticism, building façades show a laconic approach to ornamentation, largely applying a flat décor, often complemented with contrasting materials and types of finish. In some cases geometric ornament plastered on the façades is enriched with individual glazed tiles or mosaic. Looking at the building volumes of masonry apartment houses, some especially popular construction elements stand out, such as circular corner bays with dome-shaped roofing or open balcony, the use of chamfered and diverse triangular gables and massive closed balconies.
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