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Arhitekta Vladimira Šervinska pareizticīgo dievnami

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Rožlapa K. L.

Makslas Vesture un Teorija

2022

vol. 26

39-51

The 1920s and 30s are known by an unprecedented construction boom of Orthodox churches in Latvia’s history of art and architecture. This phenomenon was fostered by the Synod of the Latvian Orthodox Church as well as by its chief architect Vladimir Scherwinsky and his professional output. Not all newly built Orthodox churches were related to the Synod. In most cases, these were direct commissions from Vladimir Scherwinsky. He came from a dynasty of architects. His father Max Scherwinsky was the Director of Riga Trade School; Riga’s 700th Jubilee Exhibition that he curated left a deep impression on Vladimir’s interest in historical architecture and its potential uses. His maternal grandfather, Otto Jakob Simonson, brought up the young Vladimir after Max’s sudden death. The Dresden-born architect Simonson who was of Jewish origin stayed in Tbilisi for the most part of his professional career, serving as the city’s chief architect, until his move to Riga because of financial strains. Already during his student years at Eižens Laube’s workshop at the Architecture Faculty of Riga Polytechnic Institute, Vladimir Scherwinsky showed a strong interest in historical styles of architecture. Historical architecture of the Russian Empire and specifics of the Northern Russian wooden architecture proved especially attractive. He transferred part of these discoveries to the artistic and decorative forms of his own architectural creativity. Architect Vladimir Scherwinsky’s signature style emerged from influences as well as his individual and professional interests. He developed his individual style based on Historicist impulses alongside the artistic principles and materiality of Northern Russian wooden architecture. Several Northern Russian elements were taken over directly into Scherwinsky’s designs, such as walls built of horizontal logs, octagonal bell towers and decorative elements. However, regardless of specific inspirational sources, the architect diversified his forms in intricate ways, discovering his own architectural language.

Kokneses muižas pils vēsturiski mākslinieciskā izpēte

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Ševkina G.

Makslas Vesture un Teorija

2022

vol. 26

21-38

The historical events of the 20th century have been rather merciless towards the architectural heritage and part of it has perished. Koknese Manor House is among such lost architectural monuments whose image is captured in historical pictures but only ruins of foundations and the basement level remain in situ. Koknese Manor has been owned by the family of the Barons von Löwenstern since the 1780s. Commissioned by Otto Carl Nikolai von Löwenstern, architect Carl David Neuburger (1842–1897) designed Koknese Manor House in 1894. The project reveals the idea behind the building – a rather grand longitudinal house with volumes of different height: a two-storey main block with a mansard roof, a spacious winter garden and an expressive vertical accent in the shape of a square tower topped by a spire. The arrangement of volumes and façade solutions demonstrate the principles of harmony and symmetry. Volute gables crown and accentuate the central axis of façades and their parts. A visually attractive contrast is created between red-brick masonry and abundant elements of light decorative sculpture. The layout of the building, envisioning a high level of comfort, is commensurate with the commissioner’s status and the rationalist ideas of the epoch. The architect has functionally grouped premises into representative, private and household quarters. The location of the manor house on the Daugava riverbank parallel to the river has ensured a presentable, picturesque composition harmonised with its surroundings. Manor house construction began around 1898 and the building was completed in 1901. Some works continued later too, for instance, improvements were finished in 1911 with the installation of running water and sewerage systems. The architectural and artistic solution of Koknese Manor House, including its design as well as implementation, can be seen as an outstanding example of German Neo-Renaissance style in Latvia’s history of architecture.

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2 Makslas Vesture un Teorija

1 Rožlapa K. L.

1 Ševkina G.

2 2022

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Arhitekta Vladimira Šervinska pareizticīgo dievnami

Kokneses muižas pils vēsturiski mākslinieciskā izpēte