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Alfrēda Ašenkampfa projektētās koka ēkas Āgenskalnā

100%

Plūmiņa L.

Makslas Vesture un Teorija

2018

vol. 21

33-48

There is little information on the life and works of Riga architect Alfred Aschenkampff; however, his name features in almost all art history books dealing with Riga’s Art Nouveau buildings or the city’s history on the threshold of the 20th century. He designed one of the first Art Nouveau buildings in Riga – the apartment house at 7 Audēju Street – as well as pavilions for the 1901 Industry and Crafts Exhibition that was very significant in the history of Riga. When dealing with the Aschenkampff’s output in Riga, the wooden architecture of Āgenskalns in particular, new and important objects can be added to his few known works. In the late 19th – early 20th century, Riga saw economic growth and a booming number of inhabitants; as a result, the city spread out and the density of buildings increased too. In Āgenskalns at the time, several developmental trends are evident, both continuing the building tradition of previous centuries and reflecting the 19th century Western tendencies of urban planning. Buildings designed by Aschenkampff are situated along the old trade routes – Slokas and Kalnciema Streets – as well as in completely new quarters – on Kristapa, Sabiles, Melnsila and other streets. In the ten-year period from 1895 to 1905, nine buildings were constructed to Aschenkampff’s designs in Āgenskalns; eight of them have survived up to the present in various technical conditions. Comparing earlier designs with the buildings constructed after the turn of the century, transformations related to the advent of Art Nouveau in Riga are brightly evident. It has been assumed so far that Art Nouveau was very modest in Riga’s wooden architecture but Aschenkampff’s case proves that this statement cannot be applied to at least some architects. The wooden houses examined in the article show various possible scenarios for the buildings of this type – one had burned down, some are maintained in good condition and carefully repaired or restored while others are reconstructed beyond recognition. Therefore, Riga’s wooden architecture cannot be always assessed from the buildings’ present image, and original construction designs have to be consulted to grasp the architect’s ideas.

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

84%

Horsta K.

Makslas Vesture un Teorija

2020

vol. 24

43-62

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.

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2 Makslas Vesture un Teorija

1 Horsta K.

1 Plūmiņa L.

1 2020

1 2018

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Alfrēda Ašenkampfa projektētās koka ēkas Āgenskalnā

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