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1

Mālpils muižas oranžērija

100%
Dirveiks I.
Makslas Vesture un Teorija
|
2020
|
vol. 24
6-17
EN
Mālpils Manor is widely known as a place of public gatherings and a travellers’ stopover. It stands out among Latvia’s restored manor centres with stylish, skilfully improved surroundings and an ambitious building and park ensemble with a beautifully restored manor house. The article deals with a largely unexplored structure behind the main building’s south wing. This is the Mālpils Manor orangery, also called Garden House in literature and still waiting for restoration. The building is justifiably included in the list of state-protected architectural monuments as one of the manor complex’s most valuable components. Architecturally the building consists of two parts. An imposing façade and orangery premises, later used as living quarters, faced north. The glazed hothouses were the only south-facing edifices. The main façade is accentuated with a gently sloping pediment and a three-bay entrance portal. High, wide doors facilitated the moving of plants. The entrance portal’s tectonic scheme includes four pilasters and an entablature topped with pronouncedly protruding cornice bearing four stone (possibly porphyry) vases. The pediment is even higher and has small attics above its slopes. Within Historicist stylistic trends, façade décor with classical vases is typical of the so-called Berlin School’s Late Classicist examples. The hothouse of Mālpils Manor orangery consists of three parts with the raised middle one reaching to the orangery roof. The hothouse is the oldest of this type of building in Latvia that still retains the white-plastered, reflective back walls with a curved transition to the ceiling. This construction, called “swan neck” in literature, is seen already in 18th century examples. The “swan neck” is meant to reflect sunlight and concentrate warm air masses over plants. The glazed walls were dismantled in the mid-20th century. Mālpils Garden House architecture has been undervalued so far, being known only to narrow specialist circles. It deserves a full-fledged return to Latvia’s cultural heritage as both a balanced addition to the Mālpils Manor building and garden ensemble and an architecturally unique structure in the context of other manor orangeries in Latvia and the Baltic region.
2

VOM WETTBEWERBSPROJEKT FÜR DAS PARLAMENT IN BUDAPEST BIS ZUM THEATER- UND REDOUTENGEBÄUDE IN ZIPSER NEUDORF (SPIŠSKÁ NOVÁ VES, IGLÓ). FÜHRENDE GRUNDSÄTZE IN DER ARCHITEKTUR VON KOLOMAN GERSTER

100%
Papp G. G.
ARS
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2009
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vol. 42
|
issue 2
331-345
EN
The material analyzes the Neo-Renaissance building of the theatre and ridotto in Spišská Nová Ves/Zipser Neudorf/Iglo (after 1902) by architect Koloman Gerster (1850-1927). It describes results of the competition from 1899, consequent planning and construction process and connections with other Gerster's works and work of his contemporaries. Alongside similar buildings in Bratislava and Košice, the analyzed building belongs to the most cited ones from former Upper Hungary, today's Slovakia.
3

REFLECTION OF SOCIAL PRESTIGE IDEA IN RIGA EARLY ART NOUVEAU ARCHITECTURAL DÉCOR (Sociala prestiza ideju atspogulojums Rigas agra jugensdtila arhitekturas dekora)

100%
Grosa S.
Materiali Latvijas makslas vesturei
|
2007
|
vol. 6
137-166
EN
As a result of economic boom, Riga had become a metropolis in the second half of the 19th century, featuring industrialisation accompanied by wide-scale construction of multi-storeyed stone buildings, widening of respectable areas, urbanisation and workers' districts appearing in suburbs. Huge social inequality and strong contrasts characterise Riga as a typical Western city of the period, still at least two aspects were specific to Riga: firstly, being part of the Russian Empire and a zone of special interest as one of the few cities with a developed industry; secondly, the complicated national issue resulting from German minority's traditional privileges. In this situation early Art Nouveau décor acquired a very pronounced dimension of social prestige, becoming not just a self-advertisement of the rapidly growing bourgeoisie but also a symbol of an imagined aristocracy and the proprietor's prestige: at the beginning of the period the richest sculptural décor is found on buildings in Old Riga and the so-called Boulevard District where comparatively rich decorative sculpture was created since the 2nd half of the 19th century as well as in the former suburban districts that were gradually added to the respectable area after city's building regulations were modified. The visually most attractive embodiment of the ideas of social prestige in building décor appear in widely-spread cartouches and shields with the proprietors' monograms as well as with symbolic representation of professional attributes or elements derived from heraldry or emblematics. These elements, taken over from the 19th century, were endowed with a new meaning at the turn of the 20th century. Popularity of the ideas of social prestige created preconditions for persistent neo-style solutions of façades: Art Nouveau with its asymmetry, biomorphic décor and self-sufficient aesthetics of linear rhythms was ill-adapted to the traditional idea of respectability. So late-19th-century and early-20th-century façades feature a certain dualism; typical Art Nouveau motifs coexist with attempts to glorify ancient cultures, reflections of interests in theosophy, freemasonry etc.
4

LETZTE RENAISSANCE IN WIEN. PROJEKTE VON LEOPOLD BAUER FÜR DIE ÖSTERREICHISCH-UNGARISCHE BANK

100%
Vybíral J.
ARS
|
2009
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vol. 42
|
issue 2
217-238
EN
The article focuses on an exceptionally large project of the Austrian-Hungarian Bank's headquarters in Vienna by a prominent Viennese architect Leopold Bauer (1872-1938). It follows development of this aspiring program from 1911 to 1914 (due to the World War I only a paper design) from the winning competition project, through preliminary projects bearing witness to inspirations in the Neo-Renaissance of the Ringstrasse, to projects with a simplified architectural expression standing closer to the moderate modernism.
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