We fit window film to the offices, retail premises and display windows of Centrs (the Riga city centre), to clinics and salons, and to flats in pre-war buildings. We work around your opening hours, arrange access with the building manager and measure free of charge. Prices from €25/m², film and labour together.
At three in the afternoon, in an office in the city centre, the blinds come down and the ceiling lights go on. The room has three-metre windows facing the street, but the light falling on the monitors turns the text grey, and the only quick fix is to shut the window off and work under artificial lighting. In summer heat is added to that, but the call to us most often begins not with temperature but with glare - with the fact that someone has paid for large windows and then doesn't use them for half the working day.
That is exactly what film on the glass changes: it reduces the intensity of the transmitted light and the direct sun on the screen so that the blinds can stay up and the view of the street is kept. In the glass of a display window opposite, the brief is turned on its head - the view through has to remain, so on a storefront we fit a light solar control film or a UV film that protects fabrics and packaging, rather than a dark or mirror film that closes the display window off. And above both, in the flats of pre-war buildings, the window is tall and divided into small panes, so there the work is priced by the number of panes rather than by square metres. On a single stretch of street in the city centre those three briefs are often found in one building, and we almost never fit one and the same film to a whole building here.
We work with the existing glass: windows are not removed, glazing units are not replaced, frames are not touched, and on most properties everything is finished in a single visit. Measuring and quoting are free - we come out, count the panes and hold samples against the glass in the same room and at the same hour of the day when the problem is felt. Prices start from €25/m², covering both film and labour; prices are excl. VAT, with a €75 minimum order. Behind us are 15 years and more than 400 completed properties in Riga and within a 50 km radius. We have no premises in the city centre - we travel here as we do to any other address in the city, only with more careful planning, because here parking, passes and working hours all have to be arranged in advance.
In the city centre the working city and the residential city are in the very same buildings, often in the same stairwell.
In office space the problem is rarely temperature alone. More often still it is glare on monitors and projection screens: in the afternoon, on the west side, people lower the blinds, switch on the ceiling lights and work under artificial lighting in a room with large windows. Film here lets the blinds stay up - it reduces the intensity of the transmitted light and the direct sun on the screen while keeping the view of the street.
The second common brief is an overheating meeting room or corner office where the air conditioning runs non-stop through the summer and still can't keep up. Heat rejection film on the sunniest spans eases that load, and it can be fitted only to the sections that genuinely need it.
Offices in the city centre regularly need work on glass partitions too: a frosted band at eye level so the meeting room isn't a fishbowl, or printed film with the company logo on the entrance glazing. That is a separate category of work with an individual quote, and we usually handle it alongside the rest of the window work in a single visit.
In display windows facing the main streets the brief is almost the opposite of the office one: the view through has to remain, because that is the whole point of a storefront. At the same time, direct sun through a large sheet of glass bleaches fabrics, packaging, posters and timber surfaces in summer, and the front of the shop becomes the hottest spot in the room. In cases like these we normally fit a light solar control film or a UV film that protects the stock without closing the display window off.
Large panes at street level also raise the question of safety. Safety film does not make the glass stronger in itself, but if the glass is broken it holds the shards together in one plane instead of letting them spill onto the pavement. For retail premises with a wide storefront that is one of the most common reasons film is ordered at all.
Clinics, salons and consulting rooms on the ground floor need the reverse - daytime privacy. Here the choice is almost always frosted film over a specific area or band rather than the whole pane, so the room keeps its daylight.
The residential part of the city centre is mostly pre-war masonry stock with high ceilings and equally tall windows. They tend to be divided into many small panes by timber glazing bars, the frames are the originals, and the paint along the edges is old and soft. A window like that isn't complicated, but it is slow: each pane is measured, cut and applied separately. So the price here is worked out from the number of panes rather than the total area, and we count them during the survey so that there are no surprises later.
With old timber frames we work more slowly and with less fluid, so that water doesn't soak into the timber parts or under the old paint. We cover sills and floors. If there are hairline cracks in the glass or a pane is damaged, we say so before the work and leave that pane without film.
On city-centre streets the appearance of the façade is a question worth asking before ordering. A strongly reflective mirror film on the street-facing window of one flat can look starkly different from the other windows of the same building, and in a block of flats it usually has to be agreed with the building manager or the owners' association. In practice that means a more neutral, less reflective film is the more common choice on the street side, while the stronger option is kept for the courtyard side.
Courtyard-facing windows in the city centre are a story of their own. The inner courtyards here are narrow, and a window often looks straight into the window of the opposite wing a few metres away. This is no longer about the sun - what is needed is privacy, and it is most often solved with frosted or blackout film on just those panes that look directly across.
For open-plan offices and display windows. Cuts direct sun and glare on screens, letting the blinds stay up.
For corner offices and meeting rooms where the air conditioning can't keep up in summer. Can be fitted only to the sunniest spans of glass.
For clinics, salons, consulting rooms and glass partitions. The light stays, the view through does not - the same by day and in the evening.
For large panes and storefronts at street level. If the glass is broken, the film holds the shards together in one plane.
For stock in the display window, fabrics, posters, parquet and timber joinery in pre-war flats, where the sun bleaches surfaces.
For partitions, entrance glazing and storefront dressing. Logos and printed graphics are quoted individually according to the artwork.
If it isn't clear which option suits a particular window, there is no need to decide in advance. We bring samples to the survey and hold them against the glass on site - in an office that is especially useful, because the effect of film on monitor glare can only be judged in the same room and at the same hour of the day. If you need complete privacy, see also blackout film and mirror film. Prices for every type are set out on the prices page.
1. Enquiry. Fill in the form with the street, the type of property and the main problem. If it is an office or retail premises, mention your opening hours and whether the building has a pass system.
2. A call within 5 minutes. We get in touch and talk the situation through. Often that conversation alone makes it clear which type of film is the right one and roughly what it will cost.
3. Free on-site measuring. We come out, measure every sheet of glass and every pane, look at the frames, the height of the glazing and the access, and show you samples. This step usually also settles which windows need no film at all.
4. A fixed price. The quote covers film and labour together, excl. VAT. The price doesn't change afterwards as long as the scope of work doesn't. For commercial properties we put the quote in writing so that it can be submitted for approval.
5. Installation. A typical flat or small office is finished in a day; a larger office or a property spanning several floors we can split into zones and days. We clean the glass, cut the film on site, protect sills and floors, and clear everything away afterwards. The film takes a few days to dry out fully - during that time you may see slight haziness on the glass, and that is normal.
Tell us the address, the type of property and the main problem - heat, glare on screens, privacy or safety. We'll call you and talk you through the quote.
In the city centre the building stock is dense, the streets are narrow, and parking almost everywhere is paid and time-limited. We carry materials, rolls of film and tools to the property by hand, so it matters to us how close to the building we can stop and whether there is a courtyard or an entry where we may pull in while unloading. Some of the streets closest to the Old Town have set delivery time windows - in that case we plan the unloading for early morning. We don't charge parking costs to the client separately.
The public transport network here is dense and the station is close by, but that is of little help for our work - we travel with equipment. Driving times in Riga depend on the hour, on roadworks and on events, so we always agree the measuring and installation times in advance rather than promising to arrive “within the next few hours”.
The second practical matter is access to the building itself. Offices and mixed-use buildings often have a reception desk, a pass system or a manager who has to be told in advance. In older buildings there may be no lift at all, and everything is carried up to the fifth floor by stairs. None of that is a problem - just say so in your enquiry and we will plan the time and the size of the team accordingly.
In premises that are in use, the main constraint isn't the film but the schedule. A shop and a café have customers, a clinic has appointments, an office has meetings. In practice we handle this in three ways: working zone by zone during business hours, working after the premises close, or working at the weekend. Display windows and entrance glazing are most often treated before opening or after closing, because there we work from both sides and space has to be cleared on the pavement.
The windows need to be clear of obstructions for roughly a metre. In an office that means desks, shelves and plants on the sills have to be moved aside for a couple of hours; in a shop, that display dressing has to come out for a while. If you can't do that yourselves, say so in advance and we will allow the time to do it for you.
If there is already old film on the glass that has yellowed or bubbled, we remove it as separate work. In city-centre retail premises and offices that comes up often - the film went on under the previous tenant, and for the new one it no longer works either in appearance or in function.
See also the main Riga page, the list of areas we cover and our window film services.
The most typical jobs in office, retail and pre-war residential stock, with starting prices.
The price includes both the film and the labour. Prices are excl. VAT, with a €75 minimum order. Measuring and quoting in Centrs are free. On the windows of pre-war buildings the final figure is driven above all by the number of panes rather than the total area. The full price list is on the prices page.
Centrs borders several neighbourhoods where we work just as regularly. On one side is Vecrīga, the Old Town, with its historic building stock and even stricter rules on access; on the other, Avoti and Grīziņkalns, with masonry buildings of a similar age and a far smaller share of commercial glazing; and to the north, Brasa. It is one continuous part of the city, and in practice we often work in two adjoining neighbourhoods on the same day.
We have no branch or office in the city centre - every one of these addresses is a call-out, and none of them is anywhere near the edge of our service radius. All the Riga neighbourhoods are gathered on the Riga page, and the full list of areas we cover is on the service area page.
If a business has several properties - an office in the city centre and a shop in another neighbourhood, say - they can be submitted in one form. In that case we prepare a single combined quote and plan the work as several visits, which usually works out better value than booking each property separately.
We can work during business hours as long as the windows can be reached. In practice we usually agree to work zone by zone: one room or one run of windows is freed up at a time, desks are moved a metre back from the glass, and the rest of the office carries on working. If that isn't convenient, office clients often choose evening hours or a weekend, because then there is no meeting schedule to work around. Either way we need to know in advance so that it can be arranged with the building manager and the pass system.
In the city centre that is everyday business, and we plan for it in advance. We carry materials and tools to the property by hand, so it matters to us how close to the building we can stop, whether there is a courtyard or an entry where we may pull in while unloading, and how long that is allowed. On the streets closest to the Old Town there are often set delivery time windows, so sometimes we unload early in the morning. Paid parking is no obstacle - we don't charge it to the client separately.
No, provided the film has been chosen correctly. A display window has the opposite brief to an office - the view in from the street has to be kept, while heat and the ultraviolet radiation that bleaches fabrics, packaging and signage are reduced. In cases like these a lighter solar control film or a UV film is normally used, rather than a dark or mirror film. If the aim is specifically to screen part of the display window or to dress it with a logo, we do that with frosted or printed film over a defined area, leaving the rest of the glass clear.
Because the price is built up not only from square metres but also from the number of panes. A window in a pre-war building is often tall and divided into many small panes by timber glazing bars. Every pane has to be measured separately, the film cut separately and applied separately, so one square metre spread across ten panes takes far longer than one square metre in a single sheet of glass. During the survey we count the panes and give you the final figure before the work, not after it.
Yes, and it is one of the most common briefs on ground floors in the city centre. Frosted film lets the light through but stops anyone making out what is happening inside, and it works the same by day and by night. Mirror film gives a clear window from the inside, but only for as long as it is brighter outside than in - in the evening, with the lights on, the effect reverses. In practice people often choose a frosted band on the lower part up to eye level and leave the top clear, so the room keeps its daylight.
Prices start from €25/m², and that includes both the film and the labour. Prices are excl. VAT, with a €75 minimum order. Measuring and quoting in Centrs are free, and the call-out is not charged on top - the neighbourhood is within Riga, in the middle of our service radius. The final figure depends on the number and size of the panes and sheets of glass, the film chosen, the height of the glazing and how freely the windows can be reached. Logos, printed graphics and glass partitions are quoted individually.
Describe the situation in the form - we'll recommend the most suitable film, get in touch and give you a quote.
We have received your enquiry and will prepare a quote. We will call you on the phone number you provided.
