The Directions of Formal Expression in Latvian Contemporary Architecture in the Context of the Synthesis of the Arts

Architecture and Urban Planning doi: 10.1515/aup-2015-0006 2015/10 The Directions of Formal Expression in Latvian Contemporary Architecture in the Context of the Synthesis of the Arts Ilze Rukmane-Poča, Linda Leitāne-Šmīdberga, Riga Technical University Abstract – Different types of formal expression can be found in the mod- style name apparently only in future. A new direction “art ar- ern architecture of the 21st century – in publications, internet resources and chitecture” has become popular, which is the new architectur- in the generalizations of critics. In the context of the synthesis of arts the styles of sculptural architecture and surface architecture are noteworthy. al identity of the 21st century. Art architecture reflects the fact Characteristics of this synthesis are also noticeable in kinetic architecture that the buildings follow art, but the art determines the society. where the styles of surface kinetic architecture and sculptural kinetic archi- There are several public and interest groups created that follow tecture are distinguished. The genesis of images of buildings constructed in the slogan Art Architecture. Usually they are interdisciplinary these styles is the result of the synthesis of arts; it reflects the development of historical styles as well as the ways of formal expression and their influences creative collectives that in their projects are looking for cre- in the end of the 20th century and in the 21st century. This paper provides ativity, innovation and experiments [2]. Architect and publi- an analysis of constructed objects and proposals put forth in architectural cist A. Zvirgzdiņš in his article “Architecture as Art” looking competitions in Latvia’s 21st century modern architecture. on the interaction of architecture and art defined the sphere of Keywords – Architecture of 21st century, architecture history, synthesis “architecture as art”. His argument is held on the grounds that of arts, surface architecture, sculptural architecture, kinetic architecture, “starchitects” have created an iconic architectural base and on architectural competitions. the studies of the book “The Iconic Building ‒ The Power of the Enigma” [1], [2], [3], [4] published in 2005 by architectural crit- ic Charles Jencks. The term “Art Architecture” is very broad. After the last defined style [1] – the postmodern period – the It covers a number of directions of contemporary architectural architecture of today, is in a state of formation and formulation. formal expression that developed in the 21st century due to the Amidst this process different styles of formal expression emerge, involvement of various visual arts in architecture. emphasizing the artistic quality of the environment, energetic ef- Various means of formal expression and characteristics in ficiency as well as the long–term durability of buildings. The sculptural and surface architecture – in the synthesis of arts – styles of modern minimalism, High Tech, biomorphic or bionic can already be defined. They are summarized in the scheme architecture, neo–postmodernism and deconstructionism are still (Fig. 1) as an addition to the scheme of historical styles devel- highly relevant today. These features are visible in contemporary oped by Professor J. Krastiņš [5], [1]. 21st century manner in the synthesis of a number of stylistic Alongside the world trends, many such means and character- trends and impacts in a single object thus framing the entrance istics can be discerned in Latvian contemporary architecture. to the contemporary “modernist” period, which will gain its real The two leading styles with regard to the synthesis of arts are Fig. 1. Architectural styles and style system development scheme. 39 ©2015 Ilze Rukmane-Poča, Linda Leitāne-Šmīdberga This is an open access article licensed under the Creative Commons Attribution License (http://creativecommons.org/licenses/by/4.0/), in the manner agreed with De Gruyter Open. Architecture and Urban Planning Ilze Rukmane-Poča, Linda Leitāne-Šmīdberga, The Directions of Formal Expression in Latvian Contemporary Architecture in the Context of the Synthesis of the Arts 2015/10 Fig. 2. Riga. Administrative building at 1 Kronvalda Boulevard. “NAMS”, Fig. 3. Mārupe. Automobile centre at 1 Zemzaru Street. R. Beihlers (Germa- architect M. Malahovskis, 2000. Photo – J. Krastiņš. ny), 2001. Photo – J. Krastiņš [5]. Fig. 4. Rīga. Office building in Ķīpsala, 15 Matrožu Street. “Arhitektonika”, Fig. 5. Rīga. Office building in Ķīpsala, 15 Matrožu Street. “Arhitektonika”, 2004–2007 [9]. 2004–2007 [9]. sculptural architecture or archisculpture and surface architec- subject to the idea of its sculptural image. In sculptural archi- ture. The merging of arts is also noticeable in kinetic architecture tecture both the interior and exterior are subject to building– where a distinction of surface kinetic architecture and sculptural sculpture rules. Luis Sullivan idea “form ever follows function” kinetic architecture should be made. The most vivid display of was replaced by the idea of sculpturalism “function follows the synthesis of arts in Latvia can be found in the architecture form” [7]. In sculptural architecture form is the primary tool for of public buildings. Alongside public buildings, the synthesis is the architect and the other components are subordinate [7]. This present in the forms and façades of residential buildings as well, style results in impressive and attractive objects, leaving neither as an inseparable instrument in the forming of a modern, quality the adherents of sculptural architecture nor its opponents indif- city space. ferent. Most of the objects designed in this style remain uncon- Sculptural architecture or archisculpture [6] is a style in structed; however, thanks to the advances in new materials and which a building’s primary value is placed in its sculptural im- technologies, the style has undergone rapid development since age. Its origins are to be found in deconstructionism, organic 1990. The years 1970 – 1980 was a period of transition. “Paper and bionic architecture and other styles. These styles are more architecture was producing new ideas and principles of archi- widespread elsewhere in the world. In Latvia only a few of the tecture and ceased to be just formal studies in composition. The designed buildings have been constructed in the style of decon- conceptual leap from ‘architecture and art’ to ‘architecture as structionism. They were constructed in the end of the 20th centu- art’ did not land in a vacuum” [8]. Synthesis of arts in contem- ry: Administrative building at 1 Kronvalda Boulevard, Automo- porary architecture is found in theatrical, sculptural, often com- bile centre at 1 Zemzaru Street (Fig. 2), (Fig. 3). plex buildings by architects such as D. Libeskind, F. Gehry, E. In deconstructionism tectonic architectural elements are O. Mosa, Z. Hadid and others. In Latvia this style is present in deformed in order to achieve a sculptural, dynamic image. In the work of I. Lazdiņš in the administrative building of Corpo- sculptural architecture the construction of the object is primarily ration RBS SKALS constructed in Ķīpsala, 15 Matrožu Street 40 Architecture and Urban Planning Ilze Rukmane-Poča, Linda Leitāne-Šmīdberga, The Directions of Formal Expression in Latvian Contemporary Architecture in the Context of the Synthesis of the Arts 2015/10 Fig. 6. Rēzekne. Centre of creative industries “Zeimuļs. “SAALS”, 2012 [10]”. Fig. 7. Rīga. The National Library of Latvia. G. Birkerts, “Ģelzis-Šmits-Ar- hetips”, 2008–2014 [11]. Fig. 8. Rīga. “Saules akmens”. Multifunctional office building. Competition pro- Fig. 9. Rīga. Multifunctional office Fig. 10. Rīga. “Diena” care centre for the posal. “Zenico projekts”, TECTUM, 2001 [12]. building. “Zenico projekts”, homeless. “Lejnieku Design Bureau”, TECTUM, 2004 [13]. “8 A.M.”, 2009 [14]. (competition held in 2003, time of construction 2004–2007), the studio SAALS) (Fig. 6), (Fig. 7). For the moment Latvian proj- annex of the Latvian Academy of Arts (constructed in 2013, au- ects have not yet managed to achieve an effect similar to that thor – architect studio SZK); in the competition projects 2010 of Bilbao ‒ when a world-class project becomes a catalyst for for the building of Latvian National Museum of Art; in the proj- economically disadvantaged urban development. The centre of ects of architects A. Sīlis, U. Zābers, V. Didrihsons and others creative industries “Zeimuļs” has proven this idea by arranging (Fig. 4), (Fig. 5). Rēzekne’s mound site and making the issue of the urban envi- These buildings are primarily public buildings which express ronment a socially important issue. R. Kalniņa – the author of the significance of the building and accentuate the nearby urban this work – emphasizes the need for recognition in architecture; environment. In the 21st century, sacred structures no longer de- the necessity for a conceptual code that unifies form with con- termine the silhouettes of cities and prescribe their only means tent – “the louder the idea, the more recognizable the building”. of recognition, as in the medieval, renaissance and baroque peri- The “Swedbank” administrative high-rise building is one of ods. Today this function falls to other public buildings and struc- the first objects constructed in sculptural form in 21st Centu- tures – museums, libraries, concert halls. These objects become ry Riga. The initial drafts submitted in 2001 placed larger em- each city’s symbols and placemarks. phasis on the building’s image and

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