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1

THEORY AND PRACTICE IN THE PROTECTION OF CULTURAL MONUMENTS IN LATVIA DURING THE FIRST FIVE YEARS OF INDEPENDENCE (1919-1923) (Kulturas mantojuma aizsardziba Latvijas Republika (1919-1923))

100%
Petersons R.
Materiali Latvijas makslas vesturei
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2001
|
vol. 2
23-33
EN
During the early years of Latvia's independence, the need to protect the country's cultural monuments was not forgotten. In 1998 we marked the 75th anniversary of the adoption of Latvia's first law to protect monuments (June 15, 1923) by Parliament. The methods that are used in this process are different now than they were back then, but the range of issues which must be considered have remained relatively unchanged: specification of the typology of monuments, differentiation of the value of real estate and movable objects, involvement of the public in the protection of monuments, working out terminology, assembling lists of monuments and publishing them in catalogues, cooperation of government institutions and public organizations in this area, etc. World War I and the subsequent battle for Latvia's independence did great damage to Latvia's cultural environment and the country's artistic treasures. Vandalism and theft, selling off many treasures for speculative purposes - this was very much the typical situation in Latvia soon after the declaration of independence. The Education Ministry was the institution which was charged with protecting the country's movable cultural heritage. The work started in earnest only in the fall of 1919. Deputies to the Latvian Constitutional Convention and members of the public began to work actively in 1920 to create a legal and organizational foundation for protection of the cultural heritage. A wide range of politicians and specialists became involved in the discussions about this issue, among them Aspazija, Karlis Skalbe, Valerija Seile, Karlis Kasparsons, Atis Kenins. The Constitutional Convention rejected the first draft law on the protection of monuments, and this meant that the establishment of the appropriate national institution was delayed for nearly two more years. Among the many specialists who participated in the process, there were representatives of specific areas - Arveds Svabe in history, Pauls Kundzins in architecture, Antons Birkerts in cultural history and Zelmars Lancmanis in regional research.
2

Alfrēda Ašenkampfa projektētās koka ēkas Āgenskalnā

75%
Plūmiņa L.
Makslas Vesture un Teorija
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2018
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vol. 21
33-48
EN
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.
3

Rīgas pils erkers

75%
Dirveiks I., Jaunzems-Pētersons U.
Makslas Vesture un Teorija
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2018
|
vol. 21
6-18
EN
In today’s Latvia, only a few bay windows older than the rich historical quotes of the 19th century Historicist period are on view in their original locations. A bay window built in the mid-17th century has survived in the northwest corner of Riga Castle; this is the only such ancient structure in Latvia whose artistic quality permits comparisons to other Mannerist and Baroque examples of Northern Europe. Especially significant in Latvia’s history of architecture and art are the decorative reliefs on the bay window façades. This article aims to bring together the information we have so far and include changes resulting from the latest studies. This means giving a precise picture of how much and what exactly has been preserved from the original bay window construction and analyse its architectonic and artistic significance in the context of Riga’s 17th century architecture, while adding new facts to the known construction history. The walls of the Riga Castle bay window are made of a stone framework with decoratively treated slabs filling the space between the uprights and profiled horizontal cornices beneath the window openings. Each storey has a separate small, octagonal premise with doors leading to the rooms inside the block. The initial openings of the bay window were twice as high as those visible now. The stone walls were doubled inside with a half-timbered construction. Regardless of the details transformed over time, they give an idea of the artistic expression of the original reliefs and the programmatic message of the bay window’s décor. Even in the form of copies, this clearly demonstrates the artistic and architectural tendencies of a particular epoch, remaining among the most significant examples of 17th century Northern European Mannerist sculpture in Latvia.
4

DIGITAL MONUMENT RECONSTRUCTION IN ARCHITECTURAL STUDIES: SYNTHESIS OF RESEARCH ON THE PREVIOUSLY UNKNOWN FORM OF THE PALACE IN ŁOBZÓW (CRACOW) FROM THE PERIOD OF THE RULE OF JOHN III SOBIESKI

75%
Pikulski P.
Mesto a dejiny
|
2020
|
vol. 9
|
issue 2
97 – 110
EN
The former palace in Łobzów, which currently houses the Faculty of Architecture of the Cracow University of Technology, has an exceedingly rich architectural history. Since the Middle Ages, it has gone through a series of changes that have significantly altered its form each time. Thanks to modern digital reconstruction technology, it was possible to recreate all of its architectural phases in the form of 3D models on the basis of archaeological studies and the analysis of historical materials. The models were then used to reconstruct the most probable appearance of the building during the period when the Polish king John III Sobieski lived there. Determining the most probable state of the palace’s preservation during King Sobieski’s rule, which had not been investigated thus far, was possible only because of the combining of traditional research methods with modern technology.
5

PRESERVATION OF CULTURAL DIVERSITY AND CURRENT TOOLS OF MONUMENT CARE

63%
Ruhigová E., Ruhig R., Gregorová J.
Muzeológia a kultúrne dedičstvo
|
2024
|
vol. 12
|
issue 1
63 - 83
EN
This article deals with cultural sustainability, authenticity and one of its basic pillars: the preservation of diversity. It looks at constructions around the world and how they have adapted to local geophysical circumstances, both in the construction methods and materials used. It analyses how diversity has been endangered by globalisation in the territory of Slovakia and elsewhere. Subsequently, the article focuses on monument care and preservation in Slovakia and other countries, comparing the legal instruments used in different countries. The article proposes a system for the categorisation of objects built before 1947 in Slovakia. This is the key to better understanding the topic of protection of heritage buildings for professionals and government agencies dealing with monument protection. The proposed categorisation could help significantly in systematising the protection of tangible cultural heritage and building culture in Slovakia.
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