Medieval effervescence
In the Baltic nations, Christianity really developed from 1186 onwards, so relatively late, which explains why there are very few Romanesque buildings, the first "style" of Christianity. The church of St George in Rīga, with its beautiful arches, is one of its representatives. A hybrid Romanesque-Gothic style, on the other hand, developed rapidly, combining Romanesque sobriety with Gothic slenderness. Some churches were then distinguished by their extremely simple silhouettes, austere decoration and sometimes even the absence of a bell tower, reflecting a clearly defensive role. This is the case of the cathedral of Haapsalu. This period was followed by the full influence of the Gothic style, almost always in brick, illustrated in buildings characterised by impressive vaulted heights, astonishing decorative richness and sky-piercing bell towers. Among its great masterpieces are:St John's Church in Tartu, with its facade decorated with tiny terracotta sculptures; St Peter's Church in Rīga, whose bell tower was for a long time the tallest wooden structure in Europe; St Anne's Church in Vilnius, with its western facade sublimated by no less than 33 different types of brick; and St Mary's Cathedral in Rīga, whose stepped gables bear witness to the expansion of the Hanseatic League. The latter led to the development of a particular Gothic style, made of red bricks, of course, which can be found on the mighty fortifications, the rich warehouses or in the imposing town halls, but also of wood, which can be found in the half-timbered houses, often referred to as fachwerk, meaning "skilled labour" because of the expertise required for their construction. Gables, coats of arms and escutcheons are among the decorative attributes of this Hanseatic Gothic style, of which the town of Rīga has some fine examples, including some very fine guild houses, such as the Black Heads' Guild. A typically medieval town planning style can be seen, with flourishing cities protected by imposing fortifications, criss-crossed by a multitude of winding lanes, often linked to a main paved artery (Pilies Street in Vilnius is one of the oldest), organized around small squares and housing houses of often irregular shapes. A joyful "chaos" of which the old town of Tallinn is the most beautiful representative. Its fortifications and fortress are a reminder that the Middle Ages were a time of constant turmoil and war. This explains the proliferation of castles in the three Baltic countries. Kaunas Castle, the first stone castle in Lithuania, impresses with its 13 m high and 2 m wide walls; but in the country, it is Trakai Castle with its imposing four-storey red brick silhouette that is most famous. In Estonia, Kuressaare Castle, with its silhouette of local dolomite stone overlooking an impressive defensive system, boasts the best preserved castle in the Baltic!
Lavish 16th-18th centuries
In the 16th century, the Baltic nations continued to build castles and fortifications. It was at this time that Tallinn's ramparts were strengthened, with forty-eight towers, the most famous of which is the Grosse Marguerite tower. At the same time, merchants continued to build beautiful houses. Kaunas is brimming with buildings from the period, such as the pharmacy-warehouse, whose vaults and facade reflect the survival of the Gothic period in the midst of the Renaissance...a Renaissance of which the Church of St. Michael in Vilnius is a rare example. Baroque, on the other hand, found a fertile breeding ground in these countries. In the 17th century, bourgeois houses, whether of stone or wood, rivaled each other in ornamental richness (friezes, porticos and beautifully decorated portals...). Rīga boasts some superb examples, such as the Mentzendorff house and the Jean Rheuttern house. The elegant silhouettes of the palaces and castles of the period are enhanced by the surrounding nature, set in sumptuous parks such as the Château de Raudondvaris. The omnipresence of nature can also be seen in the superb Pazaislis monastery in Kaunas, whose impressive church dome (45 m!) dominates gardens and orchards. The Reformation had become widespread, particularly in Estonia and Latvia, with the proliferation of sober, austere Lutheran churches, often built of wood. To counter this influence, the Jesuits embarked on an impressive building program designed to bring the faithful back into the fold of the Church. At first, Jesuit Baroque took on a defensive aspect, as can be seen in St. Peter's Church in Daugavpils, with its impressive tunnel vaulting of the main nave and its silhouette flanked by two towers. It then gave way to a decorative exuberance of which the Church of St. Peter and St. Paul in Vilnius, with its two thousand stucco figures covering the vaults, is the finest example. Slender steeples topped by ornate spires and mighty domes mark the skyline of this beautiful city... whether they're the attributes of Catholic or Orthodox churches! The latter are often adorned in the green, white and gold colors of Moscow Baroque. It was during the 18th century that the most beautiful country manors and palaces were built, testifying to the prosperity of the German-Scandinavian elite. In the Latvian countryside, these palaces are known as muizas. The most beautiful is undoubtedly the Rundale Palace designed by Bartolomeo Rastrelli, architect of the Hermitage and the Winter Palace in St. Petersburg. Its long driveway, lined with semicircular stables, leads to the circle of honor, the space directly facing the palace... with one hundred and thirty-eight rooms! Nearly fifteen hundred workers and craftsmen were involved in its construction. In Estonia, the Palmse manor house boasts a superb garden filled with pavilions. Another Italian, Niccolo Michetti, was responsible for the palace in Kadriorg Park, commissioned by Peter the Great. Its white and peach colors are reminiscent of the finest buildings in Baroque St. Petersburg. Baroque decorative profusion was followed by the purity of classical forms. This classicism is characterized by the use of antique elements (columns, pediments, etc.) and pastel colors to emphasize the harmony of the buildings.Kaunas Town Hall, nicknamed the "White Swan" because of the 53 m tower above it, is still divided between late Baroque and Classicism; but today's University of Tartu, with its pale yellow facade enhanced by six white columns, is fully Classical.
Renewal and Art Nouveau
The 19th century was a period of urban renewal. Many fortifications were dismantled to allow cities to expand, while others were transformed into green spaces. This was notably the case in Vilnius, Tallinn and Rīga. New thoroughfares were also created, such as Kaunas's Freedom Avenue, almost 1.6 km long. Stylistically, this was an eclectic century, with neo styles being highly prized by the elite as a sign of their prosperity. This style was also to be found in the major seaside and spa resorts. Pärnu, for example, boasts stunning houses with facades adorned with Corinthian columns and colorful friezes, while the grounds of its neoclassical spa complex feature kiosks, pavilions, fountains and decorative arches. And don't miss the superb wooden houses with their chiselled decoration (friezes, mantling, etc.) in the beautiful Estonian spa town of Narva-Jöesuu. These resorts are often very popular with the Russian intelligentsia, who also build sumptuous Orthodox churches with their bulbous domes, bright colors and gilding, and silhouettes combining brick and wood. In Kaunas, the Igulos church, with its neo-Byzantine silhouette enhanced by blue, impresses with its harmony and symmetry. At the same time, the wealthy continue to build sumptuous residences, such as Sangaste Castle, a replica of Windsor Castle, or Plunge Castle, whose neo-Renaissance finery is reminiscent of Florence's Palazzio Vecchio. This eclecticism was so prevalent that it influenced the first Art Nouveau creations. These were highly decorative, paying particular attention to the façade, which was adorned with scrolls, garlands and sculptures. The great exponent of this movement was architect Mikhail Ossipovich Eisenstein (father of the famous film director), who described his style as "aesthetically eclectic Art Nouveau". Many of his buildings can be found in Rīga, notably on Alberta Street. Initially strongly influenced by Jugendstil (German Art Nouveau) and the English Arts and Crafts movement, Art Nouveau gradually became a vehicle for national identity, thanks to the Rīga school, at the origin of "national romanticism", blending Art Nouveau elements with traditional motifs in designs that gave pride of place to natural materials. These buildings are also characterized by tapering window embrasures and roofs that soar skywards, giving them an astonishing vertical silhouette. Under the impetus of architects trained at the Polytechnic Institute, "late" Art Nouveau became more rational and angular, heralding the architectural modernism found in Estonia, which was largely influenced by Finland. Tartu is home to the work of two Finnish legends: Alvar Aalto, who designed the Villa Tammekan, a minimalist, functional cubic structure, and Eliel Saarinen, who drew up the plans forSt. Paul's Church. Saarinen is also credited with numerous buildings in Tallinn.
Post-war
If the Soviets have left such a mark on the Baltic States, it is because they planned the reconstruction of these countries... while "sacrificing" a large part of the territory to install military infrastructures. If today we often associate this Soviet modernism with uniform and grey concrete constructions, we forget that at the beginning, these projects were linked to innovative urban planning with real social aims. Designed to accommodate the mass immigration generated by the very strong industrialization, the new districts were intended to be autonomous, with all the necessary local services and with a strong emphasis on green spaces. The buildings, prefabricated in concrete, offered modern comfort for the time, despite the relatively small spaces. The prefabricated buildings made it possible to build quickly, including small individual houses in the countryside, even if it did lead to an unattractive uniformity... At the same time, the Soviets developed a grandiloquent memorial architecture, as illustrated by the Maarjamägi memorial in Tallinn, which includes an obelisk and an arch. The city is home to other examples of Soviet monumentalism, such as the Viru Hotel, the only example of a project that included many skyscrapers. The city, which hosted the nautical events of the Moscow Olympics in 1980, also had an astonishing Congress Palace made of superimposed esplanades rising towards the sea like a Mayan pyramid. Today, a new creative impetus is blowing through the Baltic countries. In Lithuania, the famous architect Daniel Libeskind has been chosen to design the MO Museum in Vilnius, an astonishingly angular building. Latvia's emblem, the National Library, is the work of the American-Latvian architect Gunars Bikerts. Nicknamed "the castle of light" because of its glass façade, it impresses with its giant mountain-like appearance (68.3 m high, 170 m long, 44 m wide). The country is also innovative in environmental matters, as shown by the amazing ecological housing estate in Cēsis where all the houses are made of natural and sustainable materials (wooden frames, thatched roofs or wood chips, terracotta tiles, decorative woodwork...). Latvia is also committed to preserving its historical heritage, as illustrated by the rehabilitation of the Spikeri district of Rīga where every brick warehouse has been transformed into a gallery or museum. But it is perhaps Estonia that has the greatest creative vitality. The work of KOKO Architects is a good example of the desire to create a harmonious dialogue between past and present. It is to them that we owe the Baltic Station Market in Tallinn, which integrates the structure of the original market with a new structure with a wooden framework, the whole being unified by a high gabled roof. He is also responsible for the Fahle House, which consists of a glass volume superimposed on an old brick boiler room. Numerous districts of the city are being transformed, like the old port whose whole zone will be redesigned by 2030 by the architects of the Zaha Hadid agency. On the programme : pedestrian lanes, green spaces, better integration with the city and new buildings all in curves. Estonia is also banking heavily on the wood industry, of which it is the undisputed champion. Thanks to its prefabricated structures, it can quickly build healthy, resistant, well-insulated and, above all, environmentally friendly housing. The country sees further, since it participates in projects of towers made entirely of wood. A nice way to perpetuate the tradition of wooden architecture found in the three Baltic nations. Simple log cabins with grass-covered roofs, farmhouses made of wooden planks on a stone foundation and topped with thatched roofs enhanced with decorated ridges, fishermen's houses with wood protected by coloured paint (often red), secondary residences embellished with a sauna and decorated with flowers, wooden farmhouses with reed roofs, houses on stilts, windmills mixing stone and wood... vernacular architecture is an almost infinite declension of the potentialities of wood. To discover the richness of this architecture, visit the many open-air and ethnographic museums of the Baltic countries. They are the living memory of these countries, which will continue to surprise you!