Professional Documents
Culture Documents
Janīna believes that a home tells a lot about the person living in it. The
folklorist shares her impressions on how a Latvian is revealed through
his home and what exactly are the main aspects of a typical Latvian’s
home. Janīna also speaks of the common characteristics of homes in the
world altogether.
The value lies in its trueness to nature. 20th century man leaped in the
synthetic material world with great gusto. Surely, these materials have
their advantages. But, as the 21st century rolls around, we have come to
learn about many great disadvantages of these materials. It is a
common belief that the touch is one of the oldest means of
communication. As the Italian poet Marinetti wrote at the beginning of
the 20th century: “Sight came to being through the tips of fingers.”
Meaning – we truly see through touch, not eyes. We can love a person
with our eyes, but the love reaches greater depths through touch and
contact. Same applies for wood and plastic. The wood sings, it is warm
to the touch and it has a rich texture. Plastic does not sing, it is
soundless, resonating with a hollow thud. Plastic has no warmth. People
have always associated warmth with life, shelter and security. Slowly
but surely, like a tip of Atlantis, wooden architecture in Latvia is
You have mentioned that with the completion of your book you also
realized that a Latvian’s home is the Latvian himself. What is the
meaning of this statement?
How do you explain the fascination with wooden houses that our
Latvian forefathers had? Why are wooden houses only gradually
regaining their former significance?
What are the highlights of your observations while writing the book,
and how would you sum up the main characteristics of the
environment of a Latvian’s home?
The older homes were built maintaining their natural wooden colour,
but the light, yellowish tones slowly turned greyish. The same happened
to straw and shingle rooftops. The flowerbeds served as an accent
colour. Accent colours in buildings slowly made their way first through
design patterns on barns and doors of the house; only later we see these
elements on the outside or inside of the house. Soothing, warm colours
have been a typical choice.
You speak a lot of our forefathers when you describe how the design
of the facade of the building is highly influenced by the dweller’s
ethnical, religious or regional background. Do similar observations
apply when speaking of the modern Latvian and a Latvian’s wooden
house?
Our home from the outside is how we wish to present ourselves to the
world and others, but the inside of the house does, indeed, mirror our
inner world. You can tell so much about a person just by entering the
person’s home (if you are invited in one, of course) – more than the
person could ever tell you even when talking about him or herself for
hours or days.
A wooden house beautifully fits in a city; although, maybe, not the city
centre. It is like a privilege that men and women in power in Latvia are
not too keen on, considering the limited city space. I am not entirely sure
that people living in wooden houses in Rīga or Liepāja or any other city
actually comprehend how fortunate they are. I see the slow and
thought-through return of wooden architecture as a positive tendency –
campaign-induced trends leave just as fast as they arrive. As it is well
known, all good things take time.
The choice of the name of the home is very significant. I have dedicated a
whole chapter for this topic. To give a euphonic yet barren name to one’s
property is the equivalent of laying crooked foundation. Keep it pure,
don’t over-exaggerate it. Simplicity bears its elegancy. Perfection lays in
fine details, such as in carvings around jambs, patterns on doors, colours
It is a very important aspect of happiness. People say that one can live
anywhere as long as the beloved one is by one’s side – be it in a tent or
under the open sky. Temporarily – yes, it is possible. But a fulfilled
happiness requires not only a loving family, but also a roof over one’s
head.