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1

CHRISTOPH HABERLAND AND THE RIGA CITY LIBRARY (Kristofs Haberlands un Rigas pilsetas biblioteka)

100%
Lancmanis I.
Makslas Vesture un Teorija
|
2007
|
vol. 8
54-61
EN
The article traces the construction history and related events surrounding the Riga City Library designed by the prominent architect Christoph Haberland. It is an outstanding example of Classicist interior, now a highlight of the Riga Museum of History and Navigation.
2

NEO-CLASSICISM IN THE DECORATIVE SCULPTURE OF ART NOUVEAU IN RIGA (Velreiz par neoklasicismu Rigas 20. gadsimta sakuma arhitekturas dekorativaja telnieciba)

100%
Grosa S.
Materiali Latvijas makslas vesturei
|
2000
|
vol. 1
74-83
EN
In analyzing the architecture of turn-of-the-century Riga, it is important to evaluate the style of decorative sculpture that was used in the construction process. This is a subject that has received scant attention from specialists so far. Some of the materials can be classified as belonging to Neo-Classicism. The fact that we can find elements of Neo-Classicism in the decorative sculpture of early-20th century architecture in Riga, moreover, allows us to expand the chronological frontiers which apply to this particular movement in Latvia. As the result of a comparative analysis, we have found several specific aspects of decorative sculpture in early-20th century Rigensian decorative sculpture that can be attributed to Neo-Classicism. These are found in clear efforts to imbue the style with regional motivation, taking a fairly free approach to the classic inheritance of the movement, as well as in close links and reciprocal effect with late Art Nouveau and National Romanticism. International influences were important, too. The trends toward Classicism expanded the range of expressive opportunities that were available to sculptors, letting them search for new forms of plastic expression. There were also changes in the range of decorative and iconographic motifs, promoting the development of allegorical and story-telling compositions in the external decorations of buildings. Riga's Neo-C1assicist decorative sculpture tended to be quite concrete in terms of iconographic expressiveness, and the trend was toward sculpture which really told a story. Sometimes a certain craftsmanship in execution of a sculpture could diminish the academic seriousness and attribute more liveliness to the depiction. At the same time, however, we also find professionally valuable interpretations of classical themes - ones in which the link to the conventional traditions of Classicism was unimportant in the shaping of subjective allusions to mythological themes.
3

REFLECTIONS ON RIGA CONSTRUCTION HISTORY IN THE 16TH - 17TH CENTURY: RUTGER NIEDERHOFF'S CORRESPONDENCE WITH THE ROYAL COURT IN STOCKHOLM (Pardomas par Rigas buvvesturi 16. - 17. gadsimta: Rutgera Niderhofa sarakste ar karala tiesu Stokholma)

100%
Ancane A.
Makslas Vesture un Teorija
|
2008
|
vol. 11
62-74
EN
The article examines the document held by State Archive in Stockholm - a letter by Riga manufacture owner Rutger Niederhoff to Royal Court in Stockholm from the early 1650s, appealing for a just resolution of his lasting conflict with Riga Town Council. The Council fined Niederhoff for a seemingly illegal building on the old fortification wall. The article compares the facts of the mid-17th century with the present situation on the corresponding building plot in Old Riga; a copy of the correspondence in German, as well as Latvian translation, is added to the publication.
4

ATIS KENINS SCHOOL BUILDING AND NATIONAL ROMANTICISM IN THE ARCHITECTURE OF RIGA AT THE TURN OF THE 20TH CENTURY (Ata Kenina skolas eka un nacionalais romantisms Rigas 20. gs. sakuma arhitektura)

100%
Grosa S.
Materiali Latvijas makslas vesturei
|
2003
|
vol. 3
55-65
EN
National Romanticism belongs to the most controversial trends in the architecture of the early 20th century. Connections between National Romanticism and Art Nouveau in Riga were detected already between the wars, and there is a reasonable ground to consider National Romanticist architecture as a modification of Art Nouveau. But some particular questions of National Romanticism are still waiting for answers. This article about the Atis Kenins School (1905, Terbatas Street 15/17, architects Konstantins Peksens and Eizens Laube), the first public building of this style in Riga and one of the most outstanding examples of it, tries to answer some of these questions. The present look of the Atis Kenins School differs from the elevation drawing in the project as well as from some early- 20th-century photographs that show more influences of Finnish architecture. It was a very important source of inspiration for the National Romanticist architecture in Riga. Comparing the general features of the Finnish architecture with those of the Latvian National Romanticist architecture, the article tries to define the specificity of National Romanticism, pointing to some stereotypes in methodological approach. Conclusions based on research experience in other countries do not allow to interpret the National Romanticist architecture as a manifestation of national identity. Even the school owner Atis Kenins' very nationalist-minded personality does not convince that the look of the building is expressive of Latvian identity. These aspirations are only part of a certain stylistic trend that comprises many other features as well. The analysis of the Kenins School interiors proves that National Romanticist interiors should be included in one typological group with different stylistic elements. So the term of National Romanticism in Riga as well as in Finland and other countries should be used as a neutral stylistic category.
5

HISTORY IN CROSS-SECTION: BUILDING IN AUDEJU STREET 10. 14TH-18TH CENTURY (Vesture skersgriezuma. Eka Vecriga, Audeju iela 10. 14.-18. gadsimts)

88%
Strupule V.
Makslas Vesture un Teorija
|
2008
|
vol. 10
45-59
EN
The building at 10 Audeju Street in Riga is an example of how much valuable material can be discovered during the study of a single edifice. Research on this building has been carried out over several periods from 1970 to 1990. However, as findings were not exhibited during reconstruction, the building has not received the exceptional place in the overall picture of Riga's architectural history it deserves. The building in Audeju Street was built in 1855, combining two adjacent plots and two constructions that stood separately till the 1840s. So they are described as separate entities, marked as those of plot A and plot B. Both plots existed already in the mid-14th century. Construction on plot A has not survived but the semi-basement of the 'Hans Smelte's Small House' mentioned in documents on plot B is one of the best preserved fragments of Riga's oldest stone buildings. Construction of a stone house on plot A took place in the mid or late 1540s. In 1544 Vyth Dosstede bought an empty building plot, but by 1552 the now deceased Dosstede's house had already been sold. Fragments of Dosstede's stone house have survived. The last third of the 17th century began with several fires, the most damaging of which broke out in 1677. This proved fatal to Dosstede's house and the nearest buildings. During the reconstruction of the building on plot A, the old walls of Dosstede's house were used to their maximum. The interior features painted decorations in almost all the rooms on both floors. A fragment of the wall painting of the stone-carved winding staircase has survived depicting a convolution of acanthus leaves in black, white and grey tones. Rooms with painted plafonds have a restrained wall finish - a dark base with contrasting splashes on the light wall background.
6

ART NOUVEAU IN THE SACRED AND PUBLIC ARCHITECTURE OF RIGA (Rigas jugendstila perioda sakralo un sabiedrisko eku dekors)

75%
Grosa S.
Materiali Latvijas makslas vesturei
|
2008
|
vol. 7
147-154
EN
Sacred architecture has been especially important in the development of each epoch's most important innovations and as a reflection of the main stylistic tendencies. Although over the last years interest in the heritage of sacred architecture in Latvia has resulted in several extensive publications, the subject still features the blind spot of the Art Nouveau influences upon the sacred architecture and décor in Latvia at the turn of the 20th century. Active construction of churches went on in this period, revealing stylistic pluralism in wide-range reconstruction and renovation of churches as well. The aim of this publication is to specify particular aspects of stylistic estimation related to Riga architecture in the late 19th and early 20th century. The influence of Art Nouveau upon Riga architecture was not homogenous; it did not appear an all-embracing style that is especially evident in public buildings, including industrial objects, educational and commercial institutions and their decorative handling. In a similar vein, church construction reflected a wide scope of historical styles - Art Nouveau has not left a considerable impact on churches of various confessions (12 in total) built in Riga and its surroundings around the turn of the 20th century. Still new spatial tasks had to be solved; in other cases Art Nouveau has inspired particular decorative elements.
7

Buvmeistars Ruperts Bindensu: Ietekmes un sasniegumi Rigas arhitektura 17. gs. gadsimta pedeja ceturksni

63%
Ancane A.
Materiali Latvijas makslas vesturei
|
2012
|
vol. 8
11-44
EN
Rupert Bindenschu (1645-1698) is the most prominent contributor to the Baroque architecture of Riga. Although everyone knows his major works - St. Peter’s Church tower and the Reutern House - his personality and other projects in Riga and elsewhere have yet to be fully examined. Rupert (sometimes called Ruprecht or Robert) Bindenschu was born in Strasbourg in 1645 to the family of carpenter Balthasar Bindenschu and Susanne Reinhold. For several generations all men of this family have been carpenters. Possibly, Bindenschu learned the first skills of this craft with his father in Strasbourg. No information is found on the young master’s further activities until 1671. Then he arrived in Riga from Reval (Tallinn) where he had participated in the construction of the Oleviste Church tower. In Riga Bindenschu became assistant to the city master builder Jacob Josten. In 1675, when Josten returned to Danzig (Gdansk), he was officially appointed to the post of city master builder and ‘art master’ (Kunstmeister). Assigned by the City Council, the master worked in Riga and carried out several tasks in Riga Patrimonial District. Bindenschu devoted much energy to the restoration of Riga after the great fire of 1677. Bindenschu’s post meant that he had to deal with a large number of commercial and technical buildings - barns, warehouses, barracks, windmills, fortification improvements as well as reconstructions of already completed public buildings. In 1678 Bindenschu repaired the Dom Cathedral tower. The 1780s and 1790s were the most prolific years in the master’s career. In 1680 he completed a Baroque tower with a gallery for St. John’s Church, restoring its interior three years later. In 1681 he built the balconies of the organ and altar parts. Bindenschu’s major works follow, such as the Reutern House project (1685), renovation of St. Peter’s Church tower (1688-1690) and façade (1692), the wooden Jesus Church in Riga’s St. John’s suburb, the Dannenstern House (completed in 1696), the house at 3 Mazā Grēcinieku Street (since 1683) and reconstruction of the Large Guild façade.
8

THE MOST PROMINENT EXAMPLES OF DUTCH CLASSICIST ARCHITECTURE IN RIGA: DANNENSTERN HOUSE (Holandiesu klasicisma spilgtakie piemeri Riga: Dannensterna nams)

63%
Ancane A.
Makslas Vesture un Teorija
|
2008
|
vol. 10
5-16
EN
Dannenstern House was built in the 1690s for the Dutch merchant Ernst Metsue, 'landlord von Dannenstern' who became one of the most prominent and powerful representatives of the local aristocracy. In 1696 the main construction works were almost finished. According to the archives, all the sculptural work was done under the supervision of Zurich stonemason Johann Bodemer, while sculptor and woodcarver Dietrich Walter from Stockholm was invited to execute the sculptural decor. The architectonic composition of the main façade of the Dannenstern House is rather atypical for the Baroque period with its solution on two axes. The building has two symmetrical projections with portals that render the entire construction light and more presentable. The natural stone façade is divided by eight Corinthian colossal order pilasters to maintain the rhythm of the dominant feature and balance of the overall composition. In general the finish of the façade might be described as having delicately detailed elaboration - in both the acanthus ornamentation and the minor details. The characteristic features of the Corinthian capitals of the pilasters deserve particular attention. The technical implementation is on a professionally high level, as well as the artistic solution, refined and picturesque in detail, touched by the breath of classical elegance. Looking for definite samples, we find a completely identical solution of the pilasters at the Poppenhuis designed by Philips Vingboons and the Trippenhuis by his brother Justus.
9

MOTIFS IN THE DECOR OF ART NOUVEAU ARCHITECTURE IN RIGA AND THEIR ORIGINS (Rigas jugendstila perioda arhitekturas dekora motivi un to izcelsme)

51%
Grosa S.
Makslas Vesture un Teorija
|
2009
|
vol. 12
5-21
EN
As soon as Art Nouveau began to appear in the architectural decor of Riga at the turn of the 19th and 20th centuries, depictions of nature became increasingly popular. Of course, there was not just the main and specific Art Nouveau approach, which Robert Schmutzler cleverly described as 'Biological Romanticism', there were also other ways of approaching the natural world. Paul Greenhalg has described this as 'symbolic conventionalization', pantheism, metamorphosis and evolutionism. Pantheism became the main strategy for interior design at the turn of the 19th and 20th centuries in Riga, particularly insofar as vestibules are concerned. By contrast, façades manifested ideas of conventional Symbolism or of metamorphosis and evolutionism. Stylisation of natural motifs was one of the most popular techniques in designing wallpaper and stenciled decor on walls. Specialist publications had a major influence when it came to selecting the range of colours and ornamentation and since the mid 19th century their number had increased very rapidly. In Riga, as in several other provincial centres in the Russian Empire, Historicism played a particularly important role in architectural décor. When architects and designers began to move toward Art Nouveau it was often in the context of a reinterpretation of motifs that were popular in various neo-styles. New meaning was also attached to motifs and subjects that had been tested in the decorative arts and remained well known in the latter half of the 19th century and whose sources were to be found in various popular publications such as the ornamental handbook by Franz Sales Meyer, the edition 'Alegorien un Embleme' issued by Martin Gerlach, etc.
10

SCHOOLS ON RIGA'S RING OF BOULEVARDS DURING THE 2ND HALF OF THE 20TH CENTURY (Skolas Rigas bulvaru loka 19. gadsimta otraja puse)

51%
Lace D.
Makslas Vesture un Teorija
|
2008
|
vol. 10
17-31
EN
A significant number of educational institutions were built on the newly created ring of boulevards in Riga after the demolition of the historical fortifications in the 2nd half of the 19th century. This article provides a systematic review and analysis of the buildings of this period based on their construction history, façade description and planning with references to analogies and sources of inspiration from European architectural history. The first buildings were those of the Riga Polytechnic Institute and Realgymnasium. Both featured the round arch style (Rundbogenstil) that was considered appropriate for educational institutions at the time. Buildings erected in the 1860s were derived from the architecture of Hanover and a school project was designed especially for Riga (1859) by the architect Ludwig Debo, the long-standing lecturer at the Hanover Polytechnic School. The planning principle with inner yards devised for educational institutions was used for the Realschule (arch. J. D. Felsko) and Orthodox Priests' Seminary building (arch. Heinrich Scheel) in the late 1870s. In the 1880s Reinhold Schmaeling was the Chief Architect of Riga. He combined raw brick with Neo-Renaissance architectonic elements and decorative motifs in his school façades. Schools in the ring of boulevards were designed and built by local architects. Although each of them had their own professional style, they followed the change of neo-styles and technological innovations brought by the epoch.
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