Full-text resources of CEJSH and other databases are now available in the new Library of Science.
Visit https://bibliotekanauki.pl

Results found: 12

first rewind previous Page / 1 next fast forward last

Search results

Search:
in the keywords:  LATVIAN ARCHITECTURE
help Sort By:

help Limit search:
first rewind previous Page / 1 next fast forward last
1

LATVIAN MUSEUM OF ARCHITECTURE (Latvijas Arhitekturas muzejs)

100%
Martinsone I.
Makslas Vesture un Teorija
|
2007
|
vol. 8
46-53
EN
The article introduces the Latvian Museum of Architecture founded in 1994, looking into the ideas behind its foundation and collections.
2

LATEST RESEARCHES ON VIDZEME PROVINCE ARCHITECTS IN THE 19TH CENTURY (Jaunakie petijumi par Vidzemes gubernas arhitektiem)

80%
Lace D.
Makslas Vesture un Teorija
|
2005
|
vol. 4
38-52
EN
Files containing projects, plans, sketches and draughts by little known or even forgotten 19th century architects have turned up, examining the Riga City Council Master Builder and Chief Architect Johann Daniel Felsko's (1813-1902) creative legacy and searching for his projects at the Latvian State History Archive Vidzeme Province Building Board collection No. 10. Altogether works by 24 architects, engineers and draughtsmen have been found in this collection. The overview of already known and newly discovered architects' activities is disproportionate; some draughts or their copies have survived in fragments, in other cases correspondence on building licences testifies to construction activities. Projects mentioned in this article for the most part relate to the period from 1852 to 1865. They give an insight into construction history of Riga as well as Cesis, Limbazi and Dorpat (now Tartu in Estonia). The material is complemented by particular reconstruction and new construction projects for buildings around Riga and Cesis. The 1850s are commonly regarded as a total stagnation period in the history of Latvian architecture and construction, as Crimean War influenced economic life in Riga as well. It is possible that projects discovered in the collection No. 10 will make one to reconsider this conclusion. Plans, draughts and sketches of dwelling houses from the 1860s allow tracing gradual replacement of wooden buildings with stone edifices. But projects from the 1870s-1890s are rarely found there. These projects are especially important because buildings constructed according to them have not always survived till our days, many perished during the 20th century wars. Their visual reconstruction can significantly add to or even alter the overall scene of the 19th century architecture.
3

JURIJS VASILJEVS AND THE HISTORY OF LATVIAN ARCHITECTURE IN THE SECOND HALF OF THE 20TH CENTURY (Jurijs Vasiljevs un 20. gs. otras puses Latvijas arhitekturas vestures zinatne)

80%
Bruzgule M.
Materiali Latvijas makslas vesturei
|
2001
|
vol. 2
101-111
EN
On January 8, 1998, the Latvian architect and architectural specialist Jurijs Vasiljevs (1928-1993) would have celebrated his 70th birthday. A monumental research project to which Vasiljevs devoted his entire life, all of his knowledge and experience - The History of Latvian Architecture - was never completed nor published. This enormous work was divided up into various subjects, and it included more than 40 scientific papers and two important books. Vasiljevs was interested in individual architectural monuments and ensembles, in the structure of city planning and building in Latvia, in various architectural styles, and in the work of master builders and architects. Jurijs Vasiljevs joined the ranks of architectural specialists in 1951. A critical reevaluation of the country's architectural treasures in a spirit of vulgar sociological interpretation was seen as the foundation for Socialist architecture. Vasiljevs successfully defended his Candidate of Science dissertation at the end of 1955, and he was assigned to take over the development of the topic. Vasiljevs had enormous academic abilities, and the research work took on an entirely new quality. The work continued even after the Institute of Architecture and Construction was closed down in 1963. After 1985, when Vasiljevs was working at the Andrejs Upits Institute of Language and Literature, he proposed the establishment of a collective research project, 'Art During the Feudal Period in Latvia'. At the same time he was working on a book-length research project, 'Architectural Specifics of Latvia's Cities during the Period of Feudalism'. In the last report on his scientific work, covering the period between 1991 and 1993, he wrote: 'A factual and methodological foundation has been established for a fundamental research on Latvian architecture and urban construction, and it would be important to complete this work, receiving financing for the period 1994-1996, because the true significance of the Latvian architectural and urban construction heritage has never been reflected in a broader context.
4

DUNTE MANOR HOUSE OVER CENTURIES (Duntes muizas kungu maja gadsimtu gaita)

80%
Zilgalvis J.
Makslas Vesture un Teorija
|
2005
|
vol. 4
33-37
EN
Until 1423 Dunte manor (Rurhern, Rurershoff, Rurerhoff) belonged to the Rosen family. Proprietors changed with time but the Treiden family was Dunte landlords during the Polish-Swedish War. Its existence in the period of early Mannerism - from the 1560s to the first decade of the 17th century - is confirmed by stove tile fragments found in the former manor house foundations and cellars in autumn 2004. All of them were damaged by fire. One item deserves particular attention. It is a green-glazed tile with a man's profile at its centre. It is likely that this Renaissance period tile had been decorated with some narrative scene. A tile depicting the Allegory of Love from the series of Seven Virtues is from the stove that also belongs to the late Mannerism and early Baroque period. Such a rarely found tile from the Bauska Castle is dated by the second half of the 17th century. The Treidens owned the manor demolished by the war until the Swedish times. From the 1630 Dunte manor belonged to senior lieutenant Ernst Ludwig Glasenapp. In 1677 his heirs sold the manor to Johann von Dunten. A new manor house was built in 1719 when the Dunten family owned the manor. It was simple and rather archaic. In the mid-18th century the Dunte new manor house is related to Karl Friedrich Hieronymus von Munchhausen (1720-1797) - a legendary personality who married Jacobine von Dunten, the daughter of Dunte landlord, in 1744. The Dunten family owned the manor until the Latvian Agrarian Reform. It is likely that, as a result of the 1894 restoration, the building acquired the look depicted by the oldest known photograph from the early 20th century, found in the Herder Institute in Marburg, Germany. The last photograph of the manor house was taken in the 1960s, it was pulled down in 1966 but restoration started in 2004.
5

ALEKSANDRS KLINKLAVS' SENSE OF FUNCTIONALISM: RIGA-MONTREAL-CHICAGO (Aleksandra Klinklava funkcionalisma izjuta: Riga-Monreala-Cikaga)

80%
Krisane I.
Materiali Latvijas makslas vesturei
|
2007
|
vol. 6
167-188
EN
Aleksandrs Klinklavs' (1899-1982) name in the Latvian history of architecture is not indisputable in relation to a unified architectural style. But his most pronounced passion was Functionalism. Just after graduation from the Architecture Department of the University of Latvia in 1930 Klinklavs became the leading architect of Latvian Red Cross for 10 years, so his enthusiasm was typically related to designing hospitals, sanatoriums and health centres. He is reasonably considered the most potent and talented architect dealing with health care institutions in the 20th century history of Latvian architecture. Klinklavs has won significant architectural competitions of both local and international scale, such as projects for the Latvian Stock Bank (1929), the Students' House (1932), the Riga City Board (1935), and the house of the Ministry of Finances (1936). From 1930 to 1944 the architect has designed about 40 projects for buildings of various significance and functions, half of them being health care edifices. The article examines a selection and juxtaposition of Klinklavs' architectural projects in urban space in three strategic centres of his life - Riga, Montreal and Chicago. The sense of Functionalism is one of the typical features of Klinklavs' architecture mostly attributed to his varied projects (in both functions and scale) in Latvia during the 1930s, but he developed the Functionalist idea also in his later career lasting for almost 30 years in Montreal and Chicago where the dominant post-modern conditions seemingly differed in both aesthetic style and principles. Of course, most of Klinklavs' projects realised in the North American continent should be critically and thoroughly examined before relating them to Functionalist-style principles, but some constructions are particularly strong, very personal and based on manifest traditions of the International Style, mainly health care institutions. According to the tasks set for this article, the author has selected and analysed 6 objects in total from about 36 projects implemented in Latvia, 10 - in Montreal and 17 - in Chicago.
6

ON THE PROBLEM OF ART DECO IN THE ARCHITECTURE OF LATVIA (Jautajuma par Art Deco Latvijas arhitektura)

80%
Caupale R.
Makslas Vesture un Teorija
|
2006
|
vol. 5
59-61
EN
The article gives an outline of Art Deco in Latvian architecture, listing some major examples in the context of the general European attributes of the style.
7

MONUMENTS OF NEO-GOTHIC ARCHITECTURE IN LATVIA IN THE EUROPEAN CONTEXT (Neogotikas arhitekturas pieminekli Latvija Rietumeiropas buvmakslas konteksta)

70%
Zilgalvis J.
Materiali Latvijas makslas vesturei
|
2000
|
vol. 1
37-50
EN
The spread of Neo-Gothic architecture in Latvia was facilitated by processes that were occurring in the arts in Western Europe, and it remained significant from the mid-18th until the 20th century. Interest in Medieval architecture and art was first demonstrated in Great Britain, so the Gothic revival in that country has been chosen as the context for an analysis of the most distinguished Neo-Gothic monuments in Latvia. The description of some specific objects in Latgale includes a brief look at this area of the construction art in Poland. The earliest surviving applications of Neo-Gothic elements in Latvian architecture date back to the first quarter of the 19th century (the Mazstraupe castle, the Kalsnava and Pure churches, etc.). Small Neo-Gothic constructions were found in parks of baronial estates (the viewing tower of the Medze estate, the chapel of the Svitene estate, etc.). In the second half of the 19th century, Neo-Gothicism was already popular throughout Latvia, and stylistically unified buildings and ensembles of buildings appeared (a reconstruction of the Medieval Edole castle, and the earliest example of Tudor Neo-Gothicism - the castle of the Vecauce estate). Until the mid-19th century, Neo-Gothic architecture in Latvia was found largely in the castles of baronial estates (the castle of the Odziena estate, the Aluksne estate), but beginning with the third quarter of the 19th century, there was a boom in the construction of Neo-Gothic churches (Old St. Gertrude's Church in Riga, St. Trinity Church in the Sarkandaugava neighborhood of Riga, St. Paul's Church in Riga, etc.). New St. Gertrude's Church in Riga and the Garsene church in Augszeme (Courland) were designed similarly to the asymmetrical composition of the Daugavpils Lutheran church - a building that is an early and innovative example from the broader perspective - e.g., when we compare it to churches in Northeastern Poland. One of the most distinguished Neo-Gothic churches not only in Latvia but in the entire Baltic region is the Liksna church - a modern building that was designed with various Gothic elements in it.
8

Arhitekts un politika. Ernesta Štālberga dzīve un darbs

61%
Horsta K.
Makslas Vesture un Teorija
|
2019
|
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.
9

Neoislāma stila iezīmes Latvijas 19. gadsimta otrās puses un 20. gadsimta pirmās trešdaļas arhitektūrā un interjeros

61%
Kalnača I.
Makslas Vesture un Teorija
|
2015
|
vol. 18
48-65
EN
The article is devoted to the analysis of stylistic trends of neo-Islamic style as they manifest themselves in Latvian architecture and interior design of the time period. The architecture in Latvia during the second half of the 19th and the first third of the 20th century is characterized by rich and versatile heritage which has been dealt with from different angles in earlier publications; however, particular aspects of this heritage are still undervalued due to different reasons. One of the trends characteristic of the mentioned time period, for example, was the growing international influence of oriental cultures which has thus far not been investigated in Latvian contexts. The article pays attention to the neo-Islamic style heritage in Latvia and attempts to substantiate particular features of this style of architecture. The research offers a functional and stylistic analysis of the chosen objects which are subdivided into different groups according to their particular types and characteristic architectural elements. The introductory part of the article offers an analysis of those factors which determined the rise of neo-Islamic style in architecture in the 19th century. Among the most characteristic trends, the so-called orientalism which manifested itself in the scientific interest as well as popular study of and fascination about the art of the Orient is discussed. The Great Exhibitions which started in 1851 in London offered a possibility to get acquainted with Islamic and neo-Islamic architecture in Ottoman section, Egyptian section, Algerian pavilion, Tunisian pavilion etc. The following part pays attention to the interest of Latvian travellers and scholars who visited countries with Islamic style architecture and left testimonies in the Latvian press about their experience and impressions there. The main body of the article discusses different types of buildings – public and private houses, manors and examples of ephemeral architecture – which contain stylistic elements of neo-Islamic style. The buildings are classified into several groups according to different aspects of the presence of neo- Islamic style features.
10

JURIS VASILJEVS AND RIGA: SUBJECTIVELY SELECTED SKETCHES (Juris Vasiljevs un Riga: subjektivi atlasitas skices)

61%
Dekante H.
Materiali Latvijas makslas vesturei
|
2004
|
vol. 4
151-162
EN
The architect and architecture historian Juris Vasiljevs (1928-1993) stands out as one of the most prominent explorers and champions of Riga architectural heritage what was the key subject of his enthusiastic research and teaching practice. Vasiljevs' daughter, architect Helena Dekante reiterates her father's creative biography from his first arrival in Riga at the age of 16 in 1944 to his last articles in the early 1990s. Illustrated by extensive quotations from Vasiljevs' Riga-related publications and the author's own memory episodes, these 'subjectively selected sketches' vividly recreate the life-long relationship of the scholar to his city as a story of particular love, professional concern and devotion. Living in Old Riga, Juris could not accept the violent post-war deconstruction of the damaged buildings, and at his graduation from the Faculty of Architecture of the Latvian University in 1951, he dared to plan the destroyed steeple of the St. Peter's Church as reconstructed in his graduation project of the Republican Library. The dissertation on Neoclassicism in Riga architecture of the late 18th and early 19th centuries (1955) was followed by a comprehensive monograph on the same subject (1961, in Russian) that remains the basic treatise about this period in the architecture of Latvia. The work on the guide 'Riga. Architectural Monuments' (1971, in Russian) was an opportunity to pay particular attention to Old Riga, 'the unique, magnificent pearl of the Baltics', as he praised it in the introduction. Vasiljevs co-authored the album 'The Dom Cathedral Architectural Ensemble in Riga' (Leningrad, 1981, German, Spanish, French and English editions) and contributed to several dictionaries. In the 1980s his special concern was the Latvian section of the reference guide to Belarus, Lithuania, Latvia and Estonia in the series 'Artistic Heritage of the USSR' (1986, In Russian). Vasiljevs' last studies showed a growing scholarly interest in figural reliefs as meaningful memorial marks in the transition period from the late medieval Riga to that of the modem times.
11

A HISTORY OF ST. SAVIOUR'S LUTHERAN CHURCH IN SUBATE: ASPECTS OF THE CONCEPT OF THE IDEAL PROTESTANT TEMPLE IN THE 17TH CENTURY (Subates luteranu baznicas buvvesture un 17. gadsimta ideala protestantu dievnama koncepcijas aspekti tas arhitektoniskaja

61%
Ancane A.
Makslas Vesture un Teorija
|
2006
|
vol. 5
5-14
EN
This is a short insight into the origin and creation of a unique architectural object in Latvia, which demonstrates the characteristic Dutch style of the 2nd half of the 17th century. St. Saviour's church itself is a rectangular building, almost a square. The configuration of the structure is typical of the 17th century Calvinist temples of central planning in Holland. The characteristic architectural features do not have any analogue among the other architectural monuments of Latvia: the compact form of the building is crowned by a high roof, and its tendency towards a central plan is emphasized by four small turrets - one at each corner - as well as a fifth on the ridge of the roof. The walls are rhythmically divided by colossal order pilasters. The main decorative element that enriches the generally quite severe architectural image is the framing of the windows: each of them is decorated with profiled segmental and triangular pediments, which alternate according to Baroque principles. In all aspects, the interior corresponds to the requirements of 17th century Protestant architecture, where the main demand was for breadth and unity of the inner space. In exploring the development and diffusion of the classical style in other countries, we should pay particular attention to the architectural treatises and printed examples. In the case of the Subate Lutheran Church, we can recognize a sample for a four-towered temple in a treatise book by Leonhard Christian Sturm, a German professor of architecture, educated in Leyden and who attended lectures by Nicolaus Goldmann, a famous professor of architecture.
12

Marta Stana un Dailes teatra kolizijas

61%
Banga V.
Materiali Latvijas makslas vesturei
|
2012
|
vol. 8
198-212
EN
Women do not seem to be among the leaders in world architecture, Zaha Hadid being the exception. We can be proud that Marta Stana (1913-1972) was one of those who brought Latvia’s name into the Grand Arena already in the 1960s when she started to participate in international competitions. The creation of the Daile Theatre building became one of the major events in Riga’s architecture of the 20th century. All the architectural and societal problems of the 1960s were accumulated in this building. Through her work Stana proved that breaking out of the customary and striving for originality in architecture is worthwhile. She began her creative career already in 1939, while still studying architecture in Professor Ernests Stalbergs’ class at the Faculty of Architecture of the University of Latvia. Marta Stana’s spiritual guides were Alvar Aalto, Arne Jacobsen and Oscar Niemeyer. She was open to ideas inspired and influenced by functionalism, rationalism and modernism. The Daile Theatre saga began in 1949 when Russian architects Veniamin Bikov and Iezekiel Maltsin were invited to submit sketches for the theatre building; they were not successful as the ideas were borrowed from traditional prototypes of theatrical architecture in Moscow. A new official competition was announced in 1959. The motto was to attain a new theatre building with up-to-date equipment and contemporary architecture. 26 projects were submitted of which 25 were considered and 6 recommended. The winner was awarded 2nd place (the 1st place was not awarded), it was project ‘1111’ (Marta Stana and Tekla Ievina). The 3rd place was given to projects ‘8080’ (Arturs Reinfelds and Velta Reinfelde) and ‘579’ (Janis Ginters, Dzidra Ozolina, Teodors Nigulis, Boriss Ozols and Georgs Barkans). The main problem for the new theatre building was the unresolved transport scheme and its location too close to Bruninieku Street. In December 1959 a public discussion on the Daile Theatre took place. In 1966 the construction works started at the crossing of the Brivibas and Bruninieku Streets. The process lasted ten long years. The fact that the Daile Theatre building still remains relevant as a masterpiece of secular architecture indicates that the architect as thinker and creator can direct the process to a great extent. This building is the most important work in Stana’s life and as such it will remain on the city’s face.
first rewind previous Page / 1 next fast forward last
JavaScript is turned off in your web browser. Turn it on to take full advantage of this site, then refresh the page.