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EN
Nordic Classicism is a generally accepted term denoting Neo-Classicism in the architecture of Nordic countries during the first third of the 20th century. However, it has not been used in Latvia’s architecture and art history circles till now. The aim of this article is to examine the aptness of this term, exploring examples of Latvia’s inter-war period Neo-Classicism and comparing them with Nordic equivalents, especially in Sweden and Finland. Nordic Classicism is distinguished from other sub-trends of the period’s Neo-Classicism by Nordic architects’ ambitions to interpret the classical tradition individually, rationalisation and modernisation while maintaining local roots and using it to add harmony to the environment. This style inherited its interest in vernacular architecture, the environmental context, local building materials and craft traditions from turn of the century Nordic National Romanticism. Although Nordic Classicism is formally broad, it is typified by such traits as light, geometrical architectural volumes, plain or scarcely decorated, smooth façades and roof lights, and the use of both classical and non-classical elements, including deliberately atectonic solutions, disproportions or peculiarly deformed décor. Sweden and Finland were the main sources of Nordic Classicism in Latvia, as Latvian intellectuals, including architects, purposely developed cultural contacts with these countries. Latvian architects were less familiar with the Danish and Norwegian contribution. Nordic Classicism in Latvia emerges as one sub-trend of Neo-Classicism. Most influential among professionals has been the work of Swedish architects Gunnar Asplund (1885–1940), Ragnar Östberg (1866–1945) and Ivar Tengbom (1878–1968). However, imitation was not an issue, as Latvian architects had a thorough academic education, allowing them to deftly synthesise forms; they only sometimes purposely emphasised a certain style or aesthetic concept.
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