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The cultural heritage of modern architecture is a widely acknowledged phenomenon; however, unique urban landscapes that have witnessed a fundamental transformation in urban life in the 20th century are still underrepresented on the UNESCO World Heritage List. In this paper the built urban heritage of Kaunas city (1919–1939) is investigated as an example of a modern urban heritage site with a problematic focus on defining the attributes of urban heritage, especially when intangible heritage values are added to the tangible built heritage. In this paper the attributes of modern urban heritage are discussed on the example of “Modernist Kaunas (1919–1939): Architecture of Optimism”, the nomination dossier for the UNESCO World Heritage List. Three groups of attributes are described using historical research and later discussed by applying the method of comparative analysis. The conclusion proposes that Modernist Kaunas can fill the gap by representing Eastern European modern urbanity and enhance the understanding of the modern global city by reflecting the metropolitan aspirations in modern Europe.

strictly hierarchical network, guided by the principle of development from the centre to the periphery and best revealed through an examination of regional planning, the functional zoning, and the urbanisation of rural areas. This paper presents a vast environmental-territorial transformation of rural Lithuania under the Soviet occupation period in 1940-1990, during which the forced collectivisation of agriculture resulted in new territorial development. As a reaction to functionalist approach, the regionalist trends were started to be manifested in late 1970s.

The paper is a study of house-building cooperatives in the Lithuanian SSR as a field of architectural experimentation in planning, design and construction of mass housing during the late Soviet period (1960s–1980s). The house-building co-operatives were re-introduced in the USSR in 1962 as a substitute for the cessation of private single-family houses in large cities. Politically and economically, house-building co-operatives were seen as a solution to the difficult situation posed by the well-known Soviet apartment shortage because co-operative apartment arrangements meant that residents contributed their own funds to the process of building their homes, thereby avoiding the waiting list. The important change that housing co-operatives offered was the possibility for better-to-do citizens to obtain housing luxuries that were previously available only to the privileged party nomenclatura. From an urban planning perspective such a concentration of previously single houses into multi-apartment buildings was meant to minimise the municipal land taken up for housing and reduce the cost of engineering infrastructure. At the same time the introduction of co-operative housing resulted in more varied residential building designs (including more comfortable apartment layouts and better selection of materials), engaging in the process departments of experimental design at the State Design Institutes. In this paper a hypothesis is proposed that the development of co-operative housing stimulated architectural experimentation for groups concerning both privileged residents (because the process of co-operative housing accelerated the concentration of more affluent urban dwellers) and architects, who wished to express more varied residential planning ideas. The paper is a study of house-building cooperatives in the Lithuanian SSR as a field of architectural experimentation in the planning, design, and construction of mass housing during the late Soviet period (1960s–80s). House-building co-operatives were re-introduced in the USSR in 1962 as a substitute for the stoppage of private single-family dwellings in large cities. Politically and economically, house-building co-operatives were seen as a solution to the difficult situation posed by the apartment shortage. The co-operative apartment arrangements meant that residents contributed their own funds to the process of building their homes, thereby avoiding the waiting list. The important change that housing co-operatives offered was the possibility for better-off citizens to obtain housing luxuries that were previously available only to privileged communist party elite. From an urban planning perspective, concentrating zones previously allotted to single-family dwellings into multi-apartment buildings was a means of minimizing the municipal land taken up by housing and reducing the cost of engineering infrastructure. At the same time, the introduction of co-operative housing resulted in more varied residential building designs (including more comfortable apartment layouts and better selection of materials). The departments of experimental design at the State Design Institutes were engaged in the process. In this paper, we suggest the hypothesis that the development of co-operative housing stimulated architectural experimentation for two groups of people: privileged residents (because the process of co-operative housing accelerated the concentration of more affluent urban dwellers), and architects, eager to implement more varied residential planning ideas. Der Beitrag untersucht Wohnungsbaugenossenschaften in der Litauischen Sozialistischen Sowjetrepublik als Experimentierfeld für das Planen, Gestalten und Umsetzen von Architektur im Massenwohnungsbau der späten Sowjetzeit (1960er-1980er Jahre). In der UdSSR wurden Wohnungsbaugenossenschaften 1962 als Ersatz für die in den großen Städten abgeschafften privaten Einfamilienhäuser wieder eingeführt. Politisch und wirtschaftlich sah man Wohnungsbaugenossenschaften als Lösung für die schwierige Lage an, die aus der berüchtigten sowjetischen Wohnungsknappheit entstanden war: Genossenschaftlicher Wohnungsbau bedeutete, dass die Bewohner den Bau ihrer Wohnung aus eigenen Rücklagen bestritten, um so zu vermeiden, auf die Warteliste gesetzt zu werden. Die entscheidende Neuerung der Genossenschaften bestand darin, dass bessergestellte Bürger sich nun luxuriöse Wohnungsausstattungen leisten konnten, die bis dahin der privilegierten Partei-Nomenklatura vorbehalten gewesen waren. Aus stadtplanerischer Sicht sollte die Konzentration des Wohnraums – von Ein- auf Mehrfamilienhäuser – die zum Wohnen verwendete Stadtfläche verringern und die Kosten für die Bereitstellung von Infrastruktur senken. Zugleich bildete sich durch die Einführung des genossenschaftlichem Wohnungsbaus eine größere architektonische Gestaltungsvielfalt aus (wozu auch großzügiger bemessene Grundrisse und hochwertigeres Material zählten). Zudem wurden dabei die Abteilungen für experimentelle Gestaltung der staatlichen Planungsinstitute in den Prozess miteinbezogen. Der Beitrag stellt die Hypothese auf, dass die Entwicklung genossenschaftlichen Wohnungsbaus sowohl auf die privilegierten Bewohner als auch auf die Architekten anregend wirkte, da zum einen der genossenschaftlich organisierte Wohnungsbau die Konzentration wohlhabender Stadtbewohner beschleunigte und zum anderen nun abwechslungsreichere Planungsideen verwirklicht werden konnten. El presente artículo estudia las cooperativas de construcción de viviendas en la RSS de Lituania como terreno de experimentación en arquitectura y particularmente en la planeación, el diseño y la construcción de viviendas colectivas durante las últimas décadas del periodo soviético (1960-1980). Las cooperativas de construcción de viviendas se introdujeron en la Unión Soviética en 1962 para sustituir, en las grandes ciudades, las viviendas individuales de construcción privada. Desde un punto de vista político y económico, las cooperativas de construcción de viviendas se consideraron una solución a la delicada situación provocada por la bien conocida escasez de apartamentos soviéticos. Los apartamentos cooperativos suponían que los residentes aportaran fondos propios para la construcción de sus hogares, evitando de esta manera las largas listas de espera. El gran cambio introducido por estas viviendas cooperativas residió en el hecho de que los ciudadanos con mayores recursos económicos pudieron acceder a viviendas más lujosas que antes solo estaban reservadas a los miembros privilegiados de la nomenclatura. Desde una perspectiva urbanística, el paso de las viviendas individuales a una mayor concentración en edificios de apartamentos tuvo como efecto una disminución del suelo municipal destinado a la vivienda y por tanto una reducción del coste de la infraestructura de ingeniería. Paralelamente, la introducción de las viviendas cooperativas aportó una mayor variedad en el diseño arquitectónico (en particular, apartamentos con más comodidades y materiales de mayor calidad), incluyendo en este proceso a los departamentos de diseño experimental de los institutos de diseño estatales. El artículo defiende la hipótesis de que el desarrollo de las viviendas cooperativas estimuló la experimentación arquitectónica para dos colectivos: los residentes más favorecidos (dado que el proceso aceleró la afluencia y la concentración de pobladores urbanos) y los arquitectos (que querían expresar ideas más variadas en la planificación de las viviendas). Les coopératives de logements en République socialiste de Lituanie constituent un champ d'expérimentation architecturale appliqué à la planification, la conception et la construction de logements de masse à la fin de la période soviétique (années 1960-1980). Ces maisons coopératives ont été réintroduites en URSS en 1962 pour pallier la disparition des maisons individuelles privées dans les grandes villes. Politiquement et économiquement, les coopératives étaient considérées comme une solution à la pénurie d'appartements collectifs de type soviétique. Selon les règles de la coopérative, les résidents contribuaient sur fonds propres au processus de construction de leur logement, évitant ainsi les listes d'attente. C’était aussi l’opportunité pour des citoyens plus aisés d’accéder à des logements luxueux, auparavant réservés aux membres privilégiés du parti communiste. D'un point de vue urbanistique, la transformation de maisons individuelles en immeubles d’appartements était censée limiter les terrains dévolus au logement et réduire le coût des infrastructures techniques en ville. Dans le même temps, l'introduction des coopératives d'habitation a donné lieu à une plus grande variété dans la conception des bâtiments résidentiels (des appartements mieux agencés et plus confortables, avec des matériaux de meilleure qualité) impliquant des bureaux d’études expérimentaux intégrés aux Instituts nationaux d’architecture. On propose ici l’hypothèse selon laquelle le développement de l'habitat coopératif a stimulé l'expérimentation architecturale tout en profitant à des groupes de résidents privilégiés (en accélérant la concentration des citadins les plus aisés) et à des architectes qui souhaitaient innover dans la conception et l’aménagement des espaces résidentiels. Questo articolo studia le cooperative edilizie nella Repubblica Socialista Sovietica Lituana in quanto campo di sperimentazione architettonica nella pianificazione, progettazione e costruzione di alloggi di massa durante il tardo periodo sovietico (tra gli anni Sessanta e gli anni Ottanta). Le cooperative edilizie furono reintrodotte in Urss nel 1962 per compensare la scomparsa delle case unifamiliari private nelle grandi città. Dal punto di vista politico ed economico, le cooperative edilizie erano viste come una soluzione all’annoso problema della carenza di alloggi in Unione sovietica, perché gli accordi cooperativi prevedevano che gli abitanti contribuissero con fondi propri al processo di costruzione dei loro appartamenti, evitando così la lista d’attesa. Le cooperative edilizie permettevano così ai cittadini più benestanti di accedere a lussi abitativi precedentemente riservati alla privilegiata nomenklatura del partito. Dal punto di vista urbanistico, la trasformazione di case individuali in edifici di appartamenti aveva lo scopo di limitare il terreno pubblico occupato dagli alloggi e ridurre i costi della costruzione di infrastrutture. Allo stesso tempo l’introduzione dell’edilizia cooperativa portò a una maggiore varietà nella progettazione degli edifici residenziali (tra cui una disposizione più confortevole degli appartamenti e una migliore selezione dei materiali), coinvolgendo nel processo i dipartimenti di progettazione sperimentale degli Istituti nazionali di architettura. Questo articolo suggerisce che lo sviluppo dell’edilizia cooperativa abbia stimolato la sperimentazione architettonica a beneficio sia degli abitanti privilegiati (in quanto accelerava la concentrazione di una popolazione urbana benestante), sia degli architetti (permettendo loro di esprimere idee di pianificazione residenziale più varie).

The cultural heritage of modern architecture is a widely acknowledged phenomenon; however, unique urban landscapes that have witnessed a fundamental transformation in urban life in the 20th century are still underrepresented on the UNESCO World Heritage List. In this paper the built urban heritage of Kaunas city (1919–1939) is investigated as an example of a modern urban heritage site with a problematic focus on defining the attributes of urban heritage, especially when intangible heritage values are added to the tangible built heritage. In this paper the attributes of modern urban heritage are discussed on the example of “Modernist Kaunas (1919–1939): Architecture of Optimism”, the nomination dossier for the UNESCO World Heritage List. Three groups of attributes are described using historical research and later discussed by applying the method of comparative analysis. The conclusion proposes that Modernist Kaunas can fill the gap by representing Eastern European modern urbanity and enhance the understanding of the modern global city by reflecting the metropolitan aspirations in modern Europe.

How can we interpret the architects' desire to look postmodern in the last decade of soviet architecture (1980-1990)? Can it be explained according to René Girard’s theory of 'mimetic desire'? How much was it an imitation of Western forms, and how much was it connected to the vernacular turn, resulting in irreverent 'overuse' of historical references? Emphasis on the genius loci, vernacular elements, and search for historical/cultural identity indicates that themes usually associated with the postmodern architecture surfaced in the Eastern Bloc long before the demise of the socialist political system. The paper is focused on the 1980s architectural competitions in Vilnius, Lithuania, where younger generations of architects presented postmodern designs that widely employed historical references.

Based on archival and published sources (documents, leters, memoirs and contemporary press), this artcle is focused on the Jewish architects, constructon engineers and contractors who actvely partcipated in constructon of modern Kaunas in 1919–1939.

Tarpukario Europos miestų modernėjimo procesuose būsto modernizacija buvo vienas svarbiausių urbanistinio planavimo stimulų planuojant ir statant naujo tipo sveikus ir komfortiškus gyvenamuosius rajonus. Vilniaus miesto atveju tai tampa aktualu, nes miesto plotas nuo 1919 m. iki 1939 m. nepadidėjo – miesto ribos apėmė 1919 m. patvirtintą 10 400 ha plotą. Tai reiškia, kad būsto modernizacija ir su ja susijęs urbanistinis planavimas Vilniuje turėjo vykti kitaip, nei sparčiai augančiuose Centrinės ir Rytų Europos miestuose, kurių augimą tarpukariu skatino naujai statomi gyvenamieji priemiesčiai. Šiame straipsnyje, remiantis Yael Allweil ir Noa Zemer suformuluota teorija apie naujo būsto skatinamą miesto augimą (housing-based urban planning), 1919–1943 m. Vilniaus m. gyvenamoji architektūra tiriama kaip pagrindinis architektūros modernizavimo ir urbanistinio planavimo veiksnys. Nagrinėjant Didžiojo Vilniaus bendrojo plano rengimą ir idėjas (1936–1939 m.), siekiama atskleisti, kaip modernaus būsto statyba paveikė funkciniu zonavimu grįstą miesto planavimą. Reikšminiai žodžiai: tarpukario Vilnius, būsto modernizacija, funkcinis zonavimas, Didžiojo Vilniaus planas, urbanistinis planavimas. Housing modernization played a key role in interwar European urban planning, as it was used to build a new type of healthy and comfortable residential area. This question is also relevant in the case of the city of Vilnius, since from 1919 to 1939 the area of the city did not increase – its limits covered an area of 10 400 hectares, which was approved in 1919. This means that the modernization of housing and related urban planning in Vilnius had to take place in a different way than it had in the rapidly growing cities of East Central Europe, where the growth of a city’s area was stimulated by newly built residential suburbs. In this paper, residential architecture of Vilnius in 1919–1943 is studied based on the theory of housing-based urban planning formulated by Yael Alweill and Noa Zemer. Through an examination of how the Greater Vilnius Master Plan (1936–1939) was prepared, the research follows how the construction of modern housing affected urban planning and functional zoning. Keywords: interwar Vilnius, housing modernization, functional zoning, Greater Vilnius master plan, housing-based urban planning.

Bevartant buvusio architektūros muziejaus archyvus, akis užkliuvo už pavienių brėžinių, kuriuose buvo pavaizduoti išskirtinai modernūs daugiabučiai namai ir butai. Juk tai tikrasis Existenzminimum, pagalvojau. Tai, ko aš taip ieškojau tarpukario Kauno ir Vilniaus architektūroje, ir neradau. Ne tik planai, bet ir pati brėžinio estetika, vaizdavimo būdas buvo modernistiniai. Keli brėžiniai buvo pavadinti „darbininkų kolonija“, o jų datos rodė keturiasdešimtuosius. Bet tai buvo jau komunistiniai keturiasdešimtieji. Parūpo išsiaiškinti kas, kam ir kokiomis aplinkybėmis padarė šiuos brėžinius? Ar jie buvo realizuoti? Kokie apskritai architektūriniai sumanymai pasirodė Vilniuje pirmosios sovietinės okupacijos laikotarpiu? „Greitu laiku visoje šalyje užvirs grandiozinė socialistinė statyba“, – žadėta paskutiniame žurnalo Savivaldybė numeryje 1940 m. liepą. Iš tiesų per pirmuosius pirmosios sovietinės okupacijos mėnesius Lietuvoje buvo pertvarkytas architektūros valdymas, atlikta projektavimo darbų centralizacija, o architektai ir statybų inžinieriai suvaryti į valstybinius projektavimo institutus. Nors ir nebuvo paaiškinta, kuo socialistinė statyba skyrėsi nuo iki tol buvusios, tačiau naują kryptį gerai atskleidžia projektavimo įstaigų „LTSR Pramprojektas“ ir „LTSR Komprojektas“ uždaviniai – pramonės įmonių projektavimas (spartus industrializavimas) ir spartus gyvenamojo fondo – visų pirma namų darbininkams – didinimas.

Vilnius presents itself today as the easternmost and northernmost European city of the Baroque, and the Baroque heritage played an important role in 1994 when the historic centre of Vilnius was inscribed on the UNESCO World Heritage List. Throughout the twentieth century, the Vilnius Baroque attracted the attention of artists and scholars. However, the approaches to research into this field differed both in terms of methodology and in relation to their political aims. The lively intellectual debate on Vilnius’ Baroque art and architecture that went on in the inter-war period was followed by a time of rather vague and unproductive research during the Soviet period, and it flourished again after the restoration of Lithuanian independence in 1990. The first part of this article gives an overview of the main debates on and interpretive models of Baroque architecture in Vilnius before the Soviet occupation. The second part explores the Soviet reinterpretation of Baroque art and architecture and the various techniques that were used to create new values of this heritage for the then new Socialist society of Lithuania., RIHA Journal, 2019: Special Issue "Prekäre Vergangenheit? Barockforschung im östlichen Mitteleuropa unter den Bedingungen des Sozialismus"

Vlado Švipo (1900-1965) asmenybė Lietuvos mokslininkams yra žinoma, tačiau jo veikla Lietuvoje tarpukariu ir likimas pokariu dažniausiai pristatomi fragmentiškai, pabrėžiant tik vieną ar kitą jo veiklos sritį, kurių būta nemažai. Išsamią Švipo biografiją parengė Giedrė Jankevičiūtė4, skirtinguose kontekstuose jį minėjo Vaidas Petrulis, Lijana Šatavičiūtė (Natalevičienė), Regina Lakačauskaitė-Kaminskienė ir kiti. Tačiau platesnei auditorijai Švipas beveik nepažįstamas, nes - paradoksas - nepastatė beveik jokio žymesnio modernistinio pastato. Kadangi Švipas atsiminimų nepaliko, jo palikimas yra išblaškytas arba neišlikęs, šią biografinę apybraižą tenka dėlioti iš archyvinių ir spaudos nuotrupų, jo paties darbų ir informacijos, gautos bendraujant su JAV gyvenančia dukterimi Raminta Švipaite-Šinkiene.

Remiantis pirmosios pokario architektų modernistų kartos, vadinamos „lietuviškojo modernizmo mokyklos“ tėvais, Vytauto Edmundo Čekanausko, Vytauto Brėdikio, Algimanto ir Vytauto Nasvyčių, Algimanto Mačiulio, Justino Šeiboko atsiminimais, straipsnyje nagrinėjama, kas laikytina kultūrine rezistencija vėlyvojo sovietmečio (1955–1990) Lietuvos architektūroje, kodėl ir kaip buvo sukonstruotas kultūrinės rezistencijos architektūroje naratyvas ir kiek tai susiję su dabar atsirandančiais tyliojo modernizmo pasakojimais? The paper discusses the idea of ‘cultural resistance’ or ‘quiet modernism’ by analysing the records (in the form of interviews, papers and books) of the first generation of the post-WWII Lithuanian modernist architects (Vytautas Edmundas Čekanauskas, Vytautas Brėdikis, Algimantas and Vytautas Nasvytis, Algimantas Mačiulis, and Justinas Šeibokas), also known as the founders of the ‘Lithuanian school of modernism’. This generation of architects emerged in the late 1950s, when it started criticising the Stalinist architecture, realising important public objects in city centres, and occupying increasingly prominent positions in academia and the world of architecture, which eventually led to the formation of a particular cultural elite. This story of success might seem unrelated to the notion of ‘cultural resistance’ (or ‘quiet modernism’) often mentioned by the architects themselves. The paper concludes with the analysis of the evolution of and the ‘grand narrative’ behind this architect group that shared the same values and employed certain ‘quiet motifs’. The research also focuses on analysing how this myth has been reconstructed after the 1990. In conclusion, the paper argues that the notions of compromise, adaptation, and subversive opportunism—rather than ‘cultural resistance’—are more appropriate to describe the architectural and urban practices of the aforementioned generation of architects.

Vilnius presents itself today as the easternmost and northernmost European city of the Baroque, and the Baroque heritage played an important role in 1994 when the historic centre of Vilnius was inscribed on the UNESCO World Heritage List. Throughout the twentieth century, the Vilnius Baroque attracted the attention of artists and scholars. However, the approaches to research into this field differed both in terms of methodology and in relation to their political aims. The lively intellectual debate on Vilnius’ Baroque art and architecture that went on in the inter-war period was followed by a time of rather vague and unproductive research during the Soviet period, and it flourished again after the restoration of Lithuanian independence in 1990. The first part of this article gives an overview of the main debates on and interpretive models of Baroque architecture in Vilnius before the Soviet occupation. The second part explores the Soviet reinterpretation of Baroque art and architecture and the various techniques that were used to create new values of this heritage for the then new Socialist society of Lithuania.

In 2016 UNESCO World Heritage Committee Session inscribed the works of Le Corbusier on the World Heritage List.1 It must have been the moment of triumph for many lovers of the Modern Movement and people who initiated preservation programs for modern architecture. With key works of Mies van der Rohe, Walter Gropius and other masters on the World heritage list we can be sure that Modern Movement became an established cultural heritage. What about the socialist modernism? It already had its momentum few years ago with lectures, books, conferences and exhibitions. These events testify to the need to understand and consider Socialist pasts not as a “lost”, which is better ignored, but rather as a distinctive phenomenon that is still affecting us, exploring which can at least in part explain our present. And many of my colleagues ask why socialist modernism did not make it to the world heritage list. We can speculate that it might be because of the poor value of the socialist modernism, or, to put it in other words, because socialist modernism did not produce any World class architectural icons? Or maybe the reason is a less influential community, which did not make enough effort to prepare an outstanding nomination? As a good provocation I would like to mention a book Belyaevo Forever (Strelka, 2014) by Polish researcher Kuba Snopek, who tried to put a Moscow mass housing area Belyaevo on the UNESCO world heritage list and discussed the values of generic architecture. However, it is so far a research project.

Vėlyvajame sovietiniame laikotarpyje įvairėjančios būsto formos skatina atkreipti dėmesį į menininkų būstų įvairovę gyvenamosios erdvės standartizavimo kontekste, kaip į kūrybinio elito privilegiją. Kadangi menininkai galėjo pretenduoti į papildomą būsto plotą (motyvuotą kūrybinės studijos poreikiu), tai lėmė nestandartines gyvenamąsias ir kūrybines erdves, kurios išsiskyrė kasdienio apgyvendinimo aplinkoje. Nuo 1962 m., kaip visoje Sovietų sąjungoje buvo atnaujinta kooperatinių butų statybos galimybė, kūrybinės organizacijos taip pat turėjo galimybę burtis į būsto kooperatyvus ir inicijuoti statybas. Būtent kūrybinių studijų privilegija sudarė sąlygas projektuoti namus ir butus pagal individualius projektus (skirtingai nuo masinių standartizuotų projektų), pasižyminčius architektūriniu išskirtinumu bei nestandartiniais būstais. Šiame straipsnyje analizuojami du atvejai: Kompozitorių kotedžų gyvenvietė su perklausų sale Vilniuje, Žvėryne (architektas Vytautas Edmundas Čekanauskas, 1960-1966) ir Dailininkų sąjungos kooperatyvo „Menas“ sublokuotų namų kvartalas Vilniuje, Antakalnyje (architektas Algimantas Mačiulis, 1967-1970), kurie gyvenamosios erdvės standartizavimo kontekste yra išskirtiniai savo socialine ir architektūrine prigimtimi. Kiti, smulkesni atvejai taip pat aptariami, išryškinant kūrybinio elito architektūrines ir socialines privilegijas gyvenamosios erdvės atžvilgiu.

Straipsnyje nagrinėjami specifiniai sovietinės architektūros objektai – ritualiniai pastatai (santuokų ir laidotuvių rūmai), skirti civilinėms apeigoms, t. y. sekuliarios sovietinės visuomenės ritualų aptarnavimui. Pastebima, kad civilinių apeigų ritualai Lietuvos SSR suformuojami XX a. 6 deš. pabaigoje, o pastatų funkciniai tipai ir architektūriniai pavidalai – XX a. 7 deš. pabaigoje. Tuo metu Lietuvoje suprojektuoti ir pastatyti Vilniaus santuokų rūmai ir Vilniaus laidotuvių rūmai tapo funkcinio tipo, iškilmių estetikos ir simbolikos prototipais visoje Sovietų Sąjungoje. Straipsnyje, remiantis archyviniais, dokumentiniais, natūros stebėjimo ir interviu šaltiniais, šie objektai nagrinėjami ideologiniame-socialiniame lauke (tiriama, kokia valstybinė ir visuomeninė užduotis jiems buvo priskiriama) ir vėlyvojo sovietmečio architektūros meniniame lauke (tiriama, kokie netradiciniai kūrybiniai sprendimai buvo priimami siekiant sukurti naujo funkcinio tipo visuomeninius pastatus). The secular Soviet state was well known for its elaborate ‘socialist rites’ instituted for life’s milestones, from birth through marriage to death. Actions traditionally carried out in a sacral space were rather quickly assigned to ‘consumer services’, and were replaced by the civil registration of the newborn child, a secular wedding and funeral rites. Administrators of the new rituals insisted that these ceremonies were neither derived from religious rites nor were they intended to replace them. The challenge, therefore, was to create secular spaces with their own dramaturgy, designed to offer appropriate settings for weddings and funerals while avoiding any kind of religious presence. On a mass scale, most of the initiation rituals in the Soviet Union date only from the 1960s. This explains why special purpose-designed types of buildings only began to spread in many Soviet republics from the 1970s onwards. Soviet Lithuania in this context plays the role of an experimental place since the first purpose-built Wedding Palace in Vilnius (1968–1974, architect Gediminas Baravykas) and the Funeral Palace in Vilnius (1968–1975, architect Česlovas Mazūras) served as prototypes of functional type, modern aesthetics and symbols for the entire Soviet Union. The main idea of the paper is based on the fact that the new secular Soviet rituals were actually based on traditional rituals stripped of their religious content. It seems that tradition (in a very broad sense) influenced the new architectural spaces created to practice new secular socialist rituals. Therefore, from the social point of view these buildings are seen as substitutes for sacral spaces – a wedding palace substitutes for a church and a funeral palace is an interpretation of a cemetery chapel. From the architectural point of view they represent late Soviet mannerism in architecture as a certain simulacra filled with surplus meanings and decorations.

Evaluation and preservation of modern architecture in contemporary Lithuania is complicated because it is not based on thorough scientific research. However the number of protected buildings and sites is rather numerous and exceeds 350. The list of protected monuments is based on different criteria since it combines “relic” monuments from the Soviet list, and new inscriptions based on momentous research (usually when the building or site is in danger). Therefore the paper is focused on the problem of identification and transmission of the values of modern architecture in Lithuania. It analyses the situation of selection, evaluation and inscription as well as chronological, aesthetic and typological representation of the listed objects. Special attention is paid to the problem of public reception of modern architecture in Lithuania. Article in Lithuanian. Moderniosios architektūros paveldas Lietuvoje: teorinis aspektas Santrauka.Žvelgiant į moderniosios architektūros vertinimą ir apsaugą šiuolaikinėje Lietuvoje, galima pastebėti, kad LR kultūros vertybių registre išties yra nemažai šio laikotarpio objektų. Tačiau kalbant apie jų verčių identifikavimą ir perteikimą visuomenei susiduriama su dideliu informacijos trūkumu, nes Lietuvoje nėra atliekami sistemingi moderniosios architektūros paveldo tyrimai, o paveldosaugoje nėra šio paveldo interpretacinio diskurso. Siekiant išsiaiškinti, kodėl moderniosios architektūros pastatai ir kompleksai yra (turi būti) saugomi, kam jie atstovauja ir ką „pasakoja“, tyrime pateikiamas teorinis svarstymas apie Lietuvos moderniosios architektūros vertes, analizuojama paveldo atrankos ir apskaitos situacija. Straipsnyje chronologiniu, estetiniu ir tipologiniu požiūriu apžvelgiamas Lietuvos moderniosios architektūros paveldas, diskutuojama terminologijos klausimu. Reikšminiai žodžiai: modernioji architektūra, modernizmas, funkcionalizmas, socrealizmas, socmodernizmas, moderniosios architektūros paveldas.

Recenzuojama Sauliaus Grybkausko knyga „Sovietinė nomenklatūra ir pramonė Lietuvoje 1965–1985 metais“ (Vilnius, 2011). Dėl sovietmečiu vykusios industrializacijos, urbanizacijos ir regioninio planavimo Lietuvos kraštovaizdis, miestovaizdžiai, gyvenamoji aplinka, gyvenimo būdas labai pasikeitė. Sovietinės Lietuvos industrializacijos tyrimai mūsų šalies istoriografijoje menkai išplėtoti. Negausius mokslinius šios temos tyrimus dažnai užgožia subjektyvūs, asmeninėmis patirtimis paremti darbai. Dėl to recenzuojama Grybkausko knyga itin aktuali. Pagrindinis knygoje keliamas klausimas – kaip buvo formuojama sovietinės Lietuvos ekonominė struktūra. Skirtingais pjūviais nagrinėjami socialinių veikėjų santykiai, turėję įtakos Lietuvos pramonės struktūros formavimui, įtvirtinimui, kaitai ir valdymui. Recenzentės nuomone, išsami Lietuvos ir užsienio autorių apžvalga leido Grybkauskui sukurti solidų tyrimo teorinį pagrindą. Ne mažiau gausi ir naudotų šaltinių bazė. Tyrime akcentuojama ne tiek sistemos, planinės ekonomikos (t. y. išorinių veiksnių) reikšmė, kiek žmonių, priėmusių sprendimus vaidmuo. Autoriaus svarstomos temos – respublikos valdžios įtaka Lietuvos SSR ūkio struktūrai ir lietuviškosios nomenklatūros ekonominio nacionalizmo motyvai. Neapsieinama ir be komentarų apie populiarius šiais laikais mitus. Recenzentė labai teigiamai vertina Grybkausko atliktą tyrimą, akcentuoja atsakymų į nagrinėtus klausimus vertę, naujų šaltinių bei teorijų įvedimo į mokslinę apyvartą, sąvokų patikslinimo reikšmę.

Žvelgiant į moderniosios architektūros vertinimą ir apsaugą šiuolaikinėje Lietuvoje, galima pastebėti, kad LR kultūros vertybių registre išties yra nemažai šio laikotarpio objektų. Tačiau kalbant apie jų verčių identifikavimą ir perteikimą visuomenei susiduriama su dideliu informacijos trūkumu, nes Lietuvoje nėra atliekami sistemingi moderniosios architektūros paveldo tyrimai, o paveldosaugoje nėra šio paveldo interpretacinio diskurso. Siekiant išsiaiškinti, kodėl moderniosios architektūros pastatai ir kompleksai yra (turi būti) saugomi, kam jie atstovauja ir ką „pasakoja“, tyrime pateikiamas teorinis svarstymas apie Lietuvos moderniosios architektūros vertes, analizuojama paveldo atrankos ir apskaitos situacija. Straipsnyje chronologiniu, estetiniu ir tipologiniu požiūriu apžvelgiamas Lietuvos moderniosios architektūros paveldas, diskutuojama terminologijos klausimu Evaluation and preservation of modern architecture in contemporary Lithuania is complicated because it is not based on thorough scientific research. However the number of protected buildings and sites is rather numerous and exceeds 350. The list of protected monuments is based on different criteria since it combines “relic” monuments from the Soviet list, and new inscriptions based on momentous research (usually when the building or site is in danger). Therefore the paper is focused on the problem of identification and transmission of the values of modern architecture in Lithuania. It analyses the situation of selection, evaluation and inscription as well as chronological, aesthetic and typological representation of the listed objects. Special attention is paid to the problem of public reception of modern architecture in Lithuania

Tyrimu mėginama iš dalies atsakyti į dabartinių sovietinės kultūros tyrėjų keliamą klausimą apie „lietuviškosios architektūros mokyklos" susiformavimą ir bruožus sovietmečiu, gilinamasi į pereinamąjį laikotarpį iš stalininės architektūros į modernizmą (1959-1969), kai Lietuvoje buvo ieškoma ne tik modernistinių, bet ir nacionalinį identitetą išreiškiančių architektūros įkvėpimo šaltinių. Šiame procese šiaurietiškos, ypač Suomijos ir Švedijos, architektūros įtaka yra išskirtinis reiškinys, formavęs moderniosios Lieruvos archirektūros žodyną. Straipsnyje aprašomos pirmosios Lietuvos architektų išvykos į Suomiją (1959-1964), kiti šiaurės šalių architektūros pažinimo šaltiniai, išsamiai nagrinėjami du objekrai (Kompozitorių sąjungos kompleksas ir Lazdynų gyvenamasis rajonas). Remiantis archyviniais šaltiniais, interviu su architektais ir specialiąja literatūra, argumentuojama, kad šiaurietiškas regionalizmas tapo priimtinu pavyzdžiu architektams formuojant lietuviškosios architektūros mokyklos bruožus. The paper focuses on the contemporary question of the Soviet culture about the formation of the Lithuanian school of modern architecture in the period of transition from Stalinist architecture into contemporary style (1959-1969). The period is featured as a search for a modernist and national expression in architecture. Nordic architecture, especially Finnish and Swedish, played an important role in this process because of the possibility to experience Finnish modern architecture at first hand during the study trips in 1959-1964. Also, knowledge about Nordic modern architecture was of high interest and available from international architcctutal magazines due to expanding connections with the West. Two case studies arc described in the paper: the terraced houses and a hall of the Lithuanian Composers' Union as one of the most Finnish-influenced examples, and a large suburban housing estate Lazdynai, which combines both Finnish (Tapiola) and Swedish (Vallingby) planning ideas with the settling in the forest and terrain. The research leads to a conclusion that Nordic regionalism was an acceptable solution for Lithuanian architects since it combined modernist design with regional tradition and thus expressed their aspiration for national expression.

Industrinio miesto vaizdavimo kanonus atitinkančių Vilniaus fotografijų, ką ir kalbėti apie grafikos ar tapybos darbus, tepavyko rasti neįtikėtinai mažai. Vaizdinių įrodymų, kad Vilnius XIX a. pab. buvo Lietuvos pramonės centras, ieškoti būtų geriausia atsižvelgiant į europinės "industrinės" ikonografijos kontekstą. Tai buvo sritis, kurioje XIX a. II pusėje - XX a. pr. aiškiai nusistovėjo specifiniai vaizdavimo būdai: industrinis kraštovaizdis ir miestovaizdis, fabrikų, technikos, miesto inžinerijos vaizdai bei industrinio gyvenimo temos (socialinės klasės tematika). Nors šie motyvai XIX a. pab. - XX a. pr. Vilniaus ikonografijoje yra fragmentiški ir reti, vis dėlto jų esama ir jie atitinka industrinio miesto ikonografijos kanonus. Vilniuje fabriko portretas daugiausia sutinkamas reklamoje — pirmiausia įmonės firminiuose blankuose (pasaulinė tradicija), tačiau šis žanras ar motyvas menininkų nesudomino. Fotografijos paplitimas ženkliai pasitarnavo pramonės fiksavimui visų pirma dėl savo dokumentinės galios. Dažnas XIX a. pab. - XX a. pr. užsakymas - aukštos kokybės nuotraukų serija fabriko turnė, kurioje nuosekliai, klasikiniais rakursais fiksuojami fabriko pastatų eksterjerai, interjerai, pozuojantys darbininkai prie mašinų, gamybos technika ir galiausiai pati produkcija, kurios gausa pabrėžė pramoninį jos gamybos būdą. Panašiu turnė principu atlikti fotoreportažai ir iš Vilniuje vykusių pramonės bei žemės ūkio parodų, ir iš stambesnių infrastruktūrinių objektų statybų. Tokių fotoreportažų propagandinė paskirtis ypač išryškėjo Pirmojo pasaulinio karo metais ir tarpukariu. Incredibly few photographs of Vilnius, not to mention graphical or art works, compliant with the canons for depicting industrial cities, were found. It is best to look for visual evidence that Vilnius was the industrial centre of Lithuania at the end of the 19th century by taking into account the context of European “industrial” iconography. It was the area where specific modes of depiction clearly established in the second half of the 19th century–at the start of the 20th century: industrial landscape and urban panoramas, images of factories, technologies, urban engineering and the themes of industrial life (themes of the social class). Although these motifs are fragment and rare in Vilnius iconography of the late 19th century– the start of the 20th century, they are still present and they correspond to the canons of industrial city iconography. In Vilnius, the image of a factory is most common in advertising, primarily company letterheads (global tradition); however, this genre or motif was not interesting for artists. The spread of photography considerably contributed to recording industry because of its documentary power in the first place. A frequent order in the late 19th century – at the start of the 20th century was a series of high-quality photos from the tour around a factory, where exteriors and interiors of factory buildings, posing workers at the machinery, production technologies and finally products themselves, the abundance of which highlighted the industrial method of their production, were consistently depicted from classical perspectives. Photoreports from industrial and agricultural exhibitions, as well as the construction sites of larger infrastructural facilities in Vilnius were created by using a similar tour principle. The propagandistic purpose of such photoreports was particularly obvious during World War I and in the interwar period.

Straipsnyje aptariama XX amžiaus antrosios pusės industrializacija ir su ja susijusi modernizacija pokario Europoje bei sovietinėje Lietuvoje. Teigiama, kad nepaisant ideologinių skirtumų, ne tik gerovės valstybių. bet ir socialistinių respublikų kūrimo ekonominiu pagrindu tapo industrializacija. Straipsnyje remiamasi bendros septynių šalių muziejininkų parengtos kilnojamosios parodos „Svajonių fabrikai. Pramonė ir modernizmas Baltijos jūros regione 1945–1990 metais“ apibendrinimu. Estijos, Suomijos, Norvegijos, Švedijos, Latvijos, Danijos ir Lietuvos parodos „herojai“ – respondentai savo darbininkiškąjį gyvenimo kelią turėjo pasakoti laikydamiesi bendros šešių temų metodikos, kuri atskleidė jų kasdienio gyvenimo ritmą. Lietuvos svajones apie krašto modernizaciją reprezentavo elektrifikacija ir stambiausia 1960 metų industrinė statyba – Lietuvos elektrinė ir greta iškilęs naujas socialistinis miestas Elektrėnai. Visose tirtose šalyse žmonės kėlėsi gyventi iš kaimų į sparčiai augančius miestus, buvo industrializuojama ir urbanizuojama periferija, pramonės įmonės augo ir stambėjo, kaip ir gyvenamieji daugiabučiai, mokyklos, ligoninės ir prekybos centrai. Industrializaciją lydėjo statybos darbų reguliavimas, vartojimo prekių gamybos bei prekybos ribojimas. Daroma išvada, kad europiniame nagrinėjamo laikotarpio kontekste Lietuvą geriausiai reprezentuoja Elektrėnai kaip kompleksinis, autentiškas ir pilnai išlikęs sovietmečio industrializacijos objektas, išryškinantis gigantomaniją, tikėjimą mokslu ir progresu, visų gyvenimo sferų kolektyvizaciją. The paper examines the industrialisation of the Soviet Lithuania and the related modernisation in the post-war Europe and Soviet Lithuania. The author claims that, regardless of ideological differences, industrialisation became the economic basis for the establishment of welfare states as well as socialistic republics. The article is based on the summary of a travelling exhibition “Dream Factories. Industry and Modernism in the Nordic and Baltic countries in 1945–1990”, organised by museum workers of the seven countries. The “heroes”, i.e. respondents, from Estonia, Finland, Norway, Sweden, Latvia, Denmark and Lithuania had to tell about their working life by adhering to the common methodology of the six themes, which revealed the rhythm of their everyday life. Lithuania’s dream about the modernisation of the region was represented by the electrification and the major industrial construction of 1960 – the nuclear power plan and the newly emerged socialistic city Elektrėnai. In all the analysed countries people moved from villages to rapidly growing cities, peripheries were industrialised and urbanised, industry companies were growing along with multi-apartment blocks, schools, hospitals and supermarkets. Industrialisation was accompanied by regulation of construction works, restriction of production of and trade in commodities. The author concludes that within the European context of the analysed period, Lithuania is best represented by Elektrėnai as a complex, authentic and fully preserved object of the Soviet industrialisation, which is peculiar for its gigantomania, belief in science and progress, and collectivisation of all fields of life.

Vakarų valstybėse pilkieji priemiesčiai netruko susilaukti kritikos dėl monotonijos, prastos techninės būklės, nepatogumo ir socialinių problemų... Sparčiai tirpo ir Chruščiovinio atšilimo optimizmas: kasmet vis labiau ryškėjo normuojamos architektūros vienodumas, trumparegiškas taupymas, iškreiptas tipinio projektavimo supratimas. Formali modernizmo mirtis 1972 m. liepos 15 d.43 Vakaruose yra siejama su daugiabučio Naujajame Orleane išsprogdinimu, kuris, pastatytas pagal visus modernizmo kanonus, tapo socialinių blogybių židiniu. Paradoksalu, bet stambiaplokščių namų griovimas/sprogdinimas tapo tokiu pat sėkmingu politikų įrankiu, kaip ir jų statyba prieš kokius 30 metų — kai kuriose Vakarų šalyse vietiniai politikai lygiai taip pat žada griauti apleistus VI deš. daugiabučius, kaip kad jų pirmtakai žadėjo juos statyti. Tačiau ar iš tiesų modernizmas mirė? "Naujos statybos" bumas Lietuvoje atskleidė nuogą pragmatizmo veidą — ant sąvartynų dygstančius anoniminės autorystės sugrūstus daugiaaukščius, minimalias gyvenamąsias erdves be jokių aikštelių, mokyklų ar darželių. Ką kaltinsime šį kartą? Politikus, sistemą ar verslą? Grey outskirts in the Western countries attain a lot of criticism due to their monotony, poor technical condition, inconvenience and social problems. The optimism of Khrushchev’s thaw also disappeared quite quickly: the sameness of the normed architecture, short-sighted saving and the twisted understanding of typical designing got more and more prominent with each year. The official death of modernism in the West on 15 July, 1972 is related with the blowing up of an apartment building in New Orleans, which, although constructed according to all the canons of modernism, became a hotbed for social ills. Strange as it may seem, demolition/blowing-up of apartment buildings became as successful tool for politicians, as their construction 30 years prior to that — in certain Western countries local politicians promise to demolish the abandoned apartment buildings of the fifties in the same manner their predecessors promised to build them. But is modernism really dead? The boost of “new construction” in Lithuania revealed the naked face of pragmatism – apartment buildings of anonymous authorship, constructed on dumping grounds, minimum living spaces with no yards, schools or kindergartens. Who is to blame this time – would that be politicians, the system or the business?

Straipsnyje analizuojama 2 tarptautinių mokymo kursų, vykusių Lietuvoje 2001 ir 2002 m., patirtis. Tai Šiaurės šalių ministrų tarybos finansuojamo projekto „Šiaurės–Baltijos šalių pramonės paveldo praktika 2000–2002” dalis. Kursų-seminaro „Gyvojo pramonės paveldo dokumentavimas” (vyko Kauno „Liepsnos” degtukų fabrike) tikslas – parengti ir praktiškai patikrinti pramonės paveldo dokumentavimo teorijas ir metodikas. Praktinių užsiėmimų metu vyko inventorinimo, apmatavimų ir fotofiksacijos darbai minėtame objekte. Veikiančių įmonių “įpaveldinimas” kelia pagrįstų problemų, todėl svarbu suvokti informacijos apie pramonės paveldo skleidimo svarbą ir į šią veiklą įtraukti ne tik paveldosaugos specialistus, bet ir fabrikų administraciją bei darbuotojus. Kursai-seminaras Klaipėdoje (2002 m.) buvo mokomojo kurso „Pramonės paveldas ir urbanistiniai pokyčiai” dalis. Šio seminaro tikslas – palyginti 2 miestų (Helsingborgo ir Klaipėdos) uostų zonas. Istorinė raida, funkcija šios teritorijos artimos, bet jų socialinis, ekonominis bei kultūrinis-geografinis charakteris skiriasi. Buv. Lindenau laivų statykla (dab. laivų remonto įmonė) nagrinėta neatsitiktinai – įmonė ilgą laiką užėmė Klaipėdos piliavietę. Šiam objektui aktualus kuo skubesnis dokumentavimas (neatmetant tarybinio laikotarpio statinių, autentiškos ir jau gana retos Europoje įrangos), naudojimos įranga patirties išsaugojimas. Galutinė seminaro išvada palanki pramonės paveldo objektui – Klaipėdos pilis ir laivų statykla gali ir turi koegzistuoti. Pabaigoje įvertinta pramonės paveldo išsaugojimo projekto svarba Lietuvai. The article covers the experience of two international training courses held in Lithuania in 2001 and 2002. Both courses were part of large Nordic-Baltic Project “Industrial Heritage Platform 2000–2002” financed by the Nordic Council of Ministers. Training cource “recording Living Industrial Heritage” was held in Kaunas in the match factory “Liepsna” in 2001 and it was devoted to studying inventory methods of industrial heritage. The course focused on inventorying, photography, and studies of technology and production flow as well as social construction of an industrial enterprice. Training cource in Klaipeda in 2002 was the second part of the course “Industrial Heritage and Urban Change”. The main idea of the course was to compare industrial heritage in two industrial harbour cities – Helsingborg (Sweden) and Klaipeda (Lithuania). In Klaipeda the Lindenau Shipyard was investigated as the zone of tensions where the traditional heritage of the former castle, the remains of the shipbuilding, Soviet heritage, contemporary ship repairing practise and the needs of the city to make the area a public place as well as commercial interests to re-use the place confront. The questions discussed at the course were not only industrial buildings and the re-use but also the impact of industries on the social, economic and urban changes of the cities. The courses broadened the concept of industrial heritage and its practices in Lithuaniai both on the level of professionals and authorities.

Straipsnyje aptariama naujo tipo pramonės pastatų raida Europoje XIX a. Naujieji fabrikai susiformavo XVIII-XIX a. sandūroje, laikotarpiu, vadinamu pirmąja pramonės revoliucija. Jie buvo tobulinami visą XIX a. Straipsnyje nagrinėjama, kaip sąveikavo jų techninė-inžinerinė raida bei funkcionalumo ir ekonomiškumo poreikis su vyraujančiomis meninėmis tendencijomis. Aptariama fabrikų estetika - architektūrinė stilistika, meninės išraiškos priemonės, amžininkų svarstymai, kokiu keliu turėtų rutuliotis pramonės architektūra. The article focuses on the industrial architecture of the 19th century. The main task for the industrial architects of the century was to create new spaces. The factories were buildings of an absolutely new type and structure, since their designs followed the requirements of the technological process. Thus, it is possible to distinguish two main factory types: multi-storey and single-storey. This allows to suggest that in the very beginning of the 19th century, a unique multi-storey factory type developed, changing the traditional building construction into a metal frame, which was determined by the modular system. The structures of the single-storey industrial buildings started to develop in the beginning of the 19th century. Mostly the structure was determined by the roof construction. These modifications of the roofs were revolutionary in architecture, because not only the function, but also the construction dictated the shape of the industrial building. The question of the aesthetics of factories had been raised since their very emergence. Architects dreamt that factories might unite architectural beauty and engineering stability. Thus, they covered industrial buildings with the richly decorated facades of historic styles. The new construction materials such as metal and glass were only used as a lasting construction, but not as a source for the new aesthetics of the material. Together with the ideology of rationalism the new rational style in architecture emerged. The origin of the new style was found in the material, namely, in the finishing bricks. The cheap and durable "brick style" became the symbol of the century's pragmatism and dominated the industrial architecture of the late 19th century. At the very beginning of the 20th century the pioneers of industrial architecture (T. Gamier, P. Behrens, W. Gropius, and A. Meyer) introduced new ideas and designs of the factories. These buildings were the prototypes of the industrial buildings in which the new aesthetic principles emerged: transparency, lightness of the corners, exhibition of technical components.

Šiandien Europoje auga susirūpinimas pramonės paveldo technine, kultūrine bei socialine verte. Pagrindinė pramonės paveldo tyrimų užduotis šiandien yra ne tik išaiškinti pramonės objektus, ekonomines, socialines bei ideologines priežastis, įtakojusias pramonės augimą ir kaitą, bet ir analizuoti tą poveikį, kurį pramonės augimas ir kaita padarė žmogui, pastatams, struktūroms ir aplinkai. Straipsnyje taip pat aptariamas pramonės archeologijos apibrėžimas, pramonės paveldo istoriniai tyrinėjimai Lietuvoje ir Europoje bei aktualiausi pramonės pastatų konservavimo ir pernaudojimo klausimai. Neseniai parengtas Šiaurės ir Pabaltijo šalių bendradarbiavimo projektas „Pramonės paveldo platforma 2000–2002“, kurio tikslas skatinti pramonės paveldo apsaugą, konservavimą, dokumentavimą, tyrimą ir informacijos išplitimą Baltijos jūros regione. Straipsnyje pateikiama medžiagos apie šio projekto vykdomą veiklą. Vertingiausi pramonės architektūros objektai gali būti įvardyti bei nustatytas jų apsaugos būdas tik po detalių tyrimų. Šiandien pramonės paveldas gali būti vertinamas iš ekonominiu arba miesto planavimo požiūriu. Pramonės paveldas gali būti pasirinktinai įterpiamas į ekonomikos ar architektūros istoriją ar į bendrą socio-kultūrinį paveldą. Today Europe is becoming aware of technical, cultural and social value if an industrial heritage as a whole, which conceals an important part of the collective memory and European identity and some of these elements deserve to be protected as a part of the heritage. We are talking about a modern approach to the industrial heritage whose aim is to consider not only buildings, technical monuments, sites or objects but also a physical environment, knowledge, techniques and ways of life. The article discusses definitions of industrial archaeology and industrial heritage, the history of research into the industrial heritage in Europe and Lithuania and the most urgent problems of conservation and adaptive reuse of industrial buildings. Recently a new project for the Nordic and Baltic countries was devised “Industrial Heritage Platform 2000-2002”, which is aimed at stimulating protection, conservation, documentation and research of the industrial heritage and dissemination of information in the Baltic Sea Region. The article provides information about the activities of this project. The most valuable objects of industrial architecture could be defined and the ways of preserving them could be determined only after a comprehensive fulfilment of complex investigations. Nowadays we may look at the industrial heritage from the point of view of an economist or an urban planner. The choice will determine space for the industrial heritage whether in the history of economy or architecture or in a general social-cultural heritage.

In 1922-1939 in the Vilnius region, at that time - in the Republic of Poland, there was a state system of protection of monuments: law, institution and officials. In this work, this system of monument protection is analyzed using theories of authorized heritage discourse and critical discourse analysis. The dissertation examines the Polish system of monument protection as the consolidation of authorized heritage discourse. Here, as elsewhere in Europe, this discourse was based on the materiality of heritage, innate value, the transmission of national and social values, and the supremacy of (male) experts. The paper discusses the sources of power: political / institutional, professional and based on nationality, religion, social stratum or gender, which allowed the dominance of this discourse in interwar Vilnius. The practice of protection of monuments in the Vilnius region is discussed through the process of listing of monuments, practices of protection of architecture, nature, urban scale monuments, archeology and movable objects. The idea of regionalism and the photography of Jan Bułhak are analyzed as a means of consolidating the authorized Polish heritage discourse. All this allows us to conclude that the state policy on the protection of monuments reflected and was focused not on the actual situation at the time, but on the aspiration - the vision of Vilnius (region) as a redout of Polishness. The Vilnius region was not as Polish as it was created visually and in writing. Today, such an aspiration and vision of the protection of monuments is perceived in historiography as an actual situation of the protection of monuments in interwar Vilnius.

In 1922-1939 in the Vilnius region, at that time - in the Republic of Poland, there was a state system of protection of monuments: law, institution and officials. In this work, this system of monument protection is analyzed using theories of authorized heritage discourse and critical discourse analysis. The dissertation examines the Polish system of monument protection as the consolidation of authorized heritage discourse. Here, as elsewhere in Europe, this discourse was based on the materiality of heritage, innate value, the transmission of national and social values, and the supremacy of (male) experts. The paper discusses the sources of power: political / institutional, professional and based on nationality, religion, social stratum or gender, which allowed the dominance of this discourse in interwar Vilnius. The practice of protection of monuments in the Vilnius region is discussed through the process of listing of monuments, practices of protection of architecture, nature, urban scale monuments, archeology and movable objects. The idea of regionalism and the photography of Jan Bułhak are analyzed as a means of consolidating the authorized Polish heritage discourse. All this allows us to conclude that the state policy on the protection of monuments reflected and was focused not on the actual situation at the time, but on the aspiration - the vision of Vilnius (region) as a redout of Polishness. The Vilnius region was not as Polish as it was created visually and in writing. Today, such an aspiration and vision of the protection of monuments is perceived in historiography as an actual situation of the protection of monuments in interwar Vilnius.

This dissertation aims to extend the research on the urban, architectural and artistic environment and everyday life of the Soviet era by focusing on collective gardens as a little-studied aspect of Lithuanian urban space and culture. The thesis hypothesises that the mass spread of collective gardening in Lithuania formed a phenomenon similar to the so-called "kitchen culture" of the Soviet era - collective gardens were a space of specific cultural and social practices that transcended the boundaries of official ideology. The aim of this study is to investigate the phenomenon of collective gardens in Lithuania, the preconditions for its emergence and its development from 1944 to the restoration of independence in 1990-1991.

The heritage protection system in Soviet Lithuania was considered particularly successful and advanced. However Lithuanian historiography has not yet examined how and why certain urban heritage concepts and protection systems developed. This dissertation explores the research problem in chronological order (1956–1992) and analyses in detail not only the ideas of urban conservation and value but also their expression in planning documents and the influence of practical factors on urban heritage concept. Local processes have been compared to international trends. Three levels of context have been defined: USSR, socialist countries and international / Western heritage protection. It has been revealed that Lithuanian achievements in urban conservation were well known in the USSR however they were influential in neighbouring countries to a much lesser extent than was claimed. Though the Lithuanian approach generally corresponded to international trends, they were loosely interpreted in practice. In Lithuania, two separate, even isolated models of protection and urban values were applied respectively on urban monuments of local and republican level. It has been concluded that neither urban heritage concept, nor its values were ever established and this is possibly the reason why after the restoration of Lithuanian independence this system lost its effectiveness.

Architektūros vietoženklių statyba – vienas ryškiausių visuotinių miestokūros reiškinių, kuris Vakaruose stebimas ir nagrinėjamas jau daugiau nei dešimtmetį. Tačiau į urbanistinėje aplinkoje išsiskiriančius architektūros objektus dar dažnai žvelgiama pro pusės amžiaus teorijų prizmę. Pirmojoje tokio pobūdžio disertacijoje pasiūlytas miesto įvaizdį formuojančių šiuolaikinės architektūros vietoženklių tyrimo modelis, kuris leidžia išsiaiškinti miesto įvaizdį formuojančių šiuolaikinės architektūros vietoženklių reikšmę. Teoriniai aspektai čia yra suderinti su praktiniais. Metodologiniu pagrindu čia tapo R.Barthes išplėtoti teksto analizės principai, akcentuojantys prasminį – giluminį – kūrinio lygmenį. 1990–2010 m. pastatyti Vilniaus, Kauno ir Klaipėdos įvaizdį formuojantys šiuolaikinės architektūros vietoženkliai čia traktuojami kaip vizualus tekstas. Remiantis sukurtuoju tyrimo modeliu buvo išsiaiškintos urbanistinėje aplinkoje vietoženklius išskiriančios fizinės, estetinės ir kitos funkcijos bei išskirtinės dislokacijos ypatybės. Architektų bei eilinių Vilniaus, Kauno ir Klaipėdos miestiečių sociologinė apklausa (buvo apklausti 363 skirtingo amžiaus ir išsilavinimo asmenys) leido sukurti miestų įvaizdžiui svarbių šiuolaikinės architektūros vietoženklių reikšmės atvaizdus, kuriuos sudaro 9 būdingos vertės. Matematinės statistikos priemonėmis atlikta šių verčių dažnio koreliacija su vietoženklius urbanistinėje aplinkoje išskiriančiomis ypatybėmis padėjo surasti patikimus... [toliau žr. visą tekstą] In the global urban development, the construction of new architectural landmarks is one of the most prominent phenomena, which has been widely observed and analyzed in Western Europe for more than a decade. However, in urban areas, distinctive architectural objects are still often viewed through the prism of the half-century theories. The key innovation proposed in the thesis is a construction of the research model that helps to explore the meaning of the contemporary architectural landmarks important for the city image. The theoretical aspects in the dissertation are in line with the practical ones. Methodological basis there were the text analysis principles developed by R. Barthes, emphasizing meaningful level of an object. From 1990 to 2010, built in Vilnius, Kaunas and Klaipėda image forming modern architecture landmarks here treated as a visual text. The research model reveals aesthetic, physical and some other features of contemporary architectural landmarks (exceptional location, distinctive function), distinguishing them in the urban context. In total, 363 respondents of citizens and architects groups were interviewed in the sociological survey and it led to the creation of The images of meaning, which consist of nine key values. In order to process the data of the survey and to find the correlation between the contemporary architectural landmarks’ values frequency and aesthetic, physical, and the distinctive function, the exceptional location characteristics... [to full text]

2009 m. Vilnius taps Europos kultūros sostine. Tai svarbus įvertinimas, rodantis visos Europos pasitikėjimą mumis kaip išsivysčiusia valstybe, kurioje verda aktyvus kultūrinis gyvenimas. Šis įvertinimas tartum simbolizuoja, kad mes žinome ar bent jau esame susipažinę su savo valstybės kultūra istorijos tėkmėje, sugebame ne tik išsaugoti, bet ir sąmoningai bei tikslingai panaudoti paveldą. Šiandien būdas susipažinti su senąja vandens tiekimo ir apšvietimo technika, galima sakyti, yra vis dar paties susidomėjusio reikalas. Nepaisant padidėjusio susidomėjimo technikos paveldu, šios kol kas specifinės paveldo srities populiarinimas žengia pirmuosius lėtus žingsnelius. Šio darbo objektas – technikos paveldas, o tiksliau apšvietimo ir vandens tiekimo įranga Vilniaus mieste. Iš karto reikia pastebėti, kad tai gana specifinė sritis, nes susijusi su buitimi. Buitis kaip kasdienybės elementas nėra ir niekuomet nebuvo vertinama. Miesto ūkio elementai jų panaudojimo metu niekuomet neturi išliekamosios vertės ir išlieka „nepastebimi“. Tuo labiau į juos nežiūrima kaip į kultūrinį reiškinį. Kasdieninio buitinio gyvenimo istorija, jo reikšmė ir įtaka to meto kultūrai yra tiriama praėjus kelioms dešimtims, o dažniausiai ir šimtams metų. Tai yra būdinga ne tik praeities kartoms, bet ir mums. Buitis tampa istorija tik pasikeitus aplinkai, kuri, reikia pastebėti, šiandien kinta daug sparčiau nei vos prieš šimtmetį. Dėl šios priežasties didžioji dalis technikos paveldo mums šiandien pažįstama tik... [toliau žr. visą tekstą] In 2009 Vilnius is publicized as European Cultural capital. It means that our country lives an active cultural life. It’s like a present to us symbolizing that Lithuanians understand their history, culture and heritage; that they know how to save and use it for esthetical, financial, cultural or other purposes. Object of this work – technical heritage, specifically street lighting and water supply equipment in Vilnius. This is a range of small technical heritage directly related with domestic daily life that means no attitude for saving it like a worth thing. It’s not only nowadays problem. Domestic life attributes like lanterns, street lamps, water pumps, water towers, water wells and etc. has never been saved as cultural heritage as it was used constantly. Only becoming history known by the archival documents and iconography, domestic equipment sometimes attains attention. Paradoxical, but only when we have almost nothing left, we try to save it. At the moment we have 12 Vilnius water supply and street lighting objects written into Cultural heritage register – Verkiai manor lantern poles, 1 water pump, 4 water towers, 5 water mills and Vingriai spring reservoir. It’s a little number of technical heritage left, but it shows that we do remember it and somehow try to keep it for future. At the moment all the water towers, water pump and Pučkoriai water mills are saved only by not letting them to demolish. Today these objects give no any information. Better situation is with... [to full text]

Lietuvai, kaip ir kitoms Rytų Europos valstybėms, XX amžiuje teko patirti kelis politinės santvarkos lūžius, po kurių kaskart įvykdavo paveldo vertybių perkainojimas. Fiziniai bei nematerialūs Rusijos imperijos, Tarybų Sąjungos, tautinių mažumų praeities pėdsakai šiandien kelia rimtus iššūkius Lietuvos paveldosaugai, kuriai tenka laviruoti tarp objektyvių profesinių principų ir visuomenės bei kai kurių politinių jėgų daromo spaudimo atmesti „svetimą“ paveldą. Kaip tokiais atvejais elgiasi Lietuvos paveldosaugininkai? Ar jie turi pakankamai įgūdžių ir įrankių suvaldyti paveldo konfliktus? Kokios didžiausios problemos, su kuriomis jie susiduria šiame procese? Kaip tas problemas būtų galima išspręsti? Kaip visuomenė vertina paveldosaugininkų vykdomą politiką „svetimo“ palikimo atžvilgiu? Kokios nuostatos disonuojančio paveldo reprezentavimo atžvilgiu laikosi muziejai ir kitos kultūros paveldą pristatančios šalys? Į šiuos klausimus pagrįstai atsakyti gali mokslinis tyrimas. Darant prielaidą, jog būdingiausius disonuojančio paveldo Lietuvoje problemos bruožus gali atskleisti vieno pasirinkto miesto disonuojančio paveldo situacijos analizė, tyrimui pasirinktas Kauno miestas. Tyrimo objektas: Disonuojančio paveldo Kauno mieste politikos, administravimo, apsaugos ir sklaidos problemos. Tyrimo tikslas: Disonuojančio paveldo Kauno mieste problemų konceptualizavimas ir praktinių rekomendacijų joms spręsti pateikimas. Tyrimo uždaviniai: 1. Konceptualizuoti Kauno tvirtovės, žydų tautinės... [toliau žr. visą tekstą] Notorious removal of the „Bronze soldier“ monument in Estonia in 2007 and serious political tensions that followed warned the neighbouring states that cultural heritage issues may spontaneously become a cause for an international conflict. Those events inspired the main question of this research work – is Lithuanian heritage preservation service able to control tensions that heritage causes? The object of research: problems of policy, management, preservation and spread of dissonant heritage in Kaunas. The purpose of research: conceptualization of problems caused by dissonant heritage in Kaunas and setting forth practical recommendations. The goals of research: 1. Conceptualization of heritage preservation problems caused by Kaunas fortress, Jewish and soviet legacies; 2. Displaying social opinion on the issues of Kaunas dissonant heritage by means of the social research method; 3. Defining of Kaunas museums attitude towards the dissonant heritage; 4. Verification of the „time distance“ contribution role in the management of heritage-based conflicts; 5. Setting forth practical recommendations on the heritage–preservation policy. The thesis combines several integrated researches: case studies, social- and resource research. The analysis ellucidates the sharpest aspects of the dissonant heritage problem in Kaunas. Kaunas fortress, built by Russian empire, is a huge complex of defensive, administrative and household buildings and systems. After the I world war the complex lost... [to full text]

Moderniosios architektūros paveldas Lietuvoje Visuomeninės veiklos procese visuose istorijos etapuose lieka medžiaginių ženklų, tarp kurių itin reikšmingą vietą užima nekilnojamieji objektai. Vyraujančią jų dalį miestuose sudaro architektūra. Istorinės architektūros samprata nuolat keičiasi apimdama vis naujus dešimtmečius ir stilius. Vienas „jauniausių“ stilių, kuris palengva pradedamas suvokti kaip istorinio paveldo dalis - tai modernizmas. Daugelyje Europos šalių šio stiliaus istoriškumas nebekvestionuojamas. Tai skatina atkreipti dėmesį ir į Lietuvos moderniosios architektūros paveldą, išnagrinėti, kas buvo pasiekta ir kas galėtų būti išsaugota kaip buvusios epochos dalis. Tyrimo objektas yra modernioji architektūra kaip XX a. Lietuvos architektūros paveldo dalis. Reikia atkreipti dėmesį, jog tyrimas apima tik visuomeninius (daugiafunkcinius) pastatus. Tyrimui pasirinkti reprezentatyviausią šios stilistikos objektų sankaupą turintys miestai - tai Kaunas ir Vilnius. Nepriklausomos Lietuvos sąlygomis tarpukario ir pokario modernioji architektūra, atskiri jos objektai yra vertinami nevienareikšmiškai, iškyla visa eilė labai aktualių ir aštrių paveldotvarkinio ir paveldosauginio pobūdžio problemų, kurios reikalauja neatidėliotinų, pagrįstų atsakymų. Esminę problemą sudaro konceptualaus pobūdžio nuostata – ar šis paveldas apskritai yra pripažįstamas kaip Lietuvos kultūros paveldo objektas. Nuo šio požiūrio priklauso visas tolesnis moderniosios architektūros paveldo likimas... [toliau žr. visą tekstą] Heritage of Modern Architecture in Lithuania At any history stage the process of public activity leaves some material symbols, among which immovable items take an especially important place. The dominant part of them in the cities is formed from architecture. Conception of historical architecture is undergoing constant changes by encompassing still new decades and styles. One of the “youngest” styles, which is gradually coming to be perceived as part of historical heritage, is modernism. The majority of the European countries have already refrained from questioning the historicity of this style. This stimulates us focusing also on the heritage of Lithuania’s modern architecture and analysing what was achieved and what could be preserved as part of the former era. The research subject-matter deals with modern architecture as part of the heritage of Lithuania’s architecture in the 20th century. Given the conditions of independent Lithuania, interwar and post-war modern architecture and separate objects of it receive ambiguous evaluations, a number of highly relevant and severe problems of heritage conservation and heritage documentation nature occur, which require urgent and reasoned answers. Fundamental problem lies in the attitude of conceptual character, namely whether this heritage is by and large recognized as the object of Lithuanian cultural heritage. Further destiny of modern architecture heritage depends on the latter attitude. It should be emphasised that the greatest... [to full text]

By combining the approaches of film history theory with research of the Soviet period, and on the basis of empirical research, this study carries out the reconstruction of exhibition, distribution and production. The main aim of this study is to present film as a multi-layered phenomenon of the Soviet period which encompasses socio-cultural, ideological, political, creative, technological, economical and institutional levels. This research not only identifies the main aims and tasks of the Soviet film policy (from above), but also discloses reasons for those cases when the programme-aimed intentions failed to be executed (from below). As it turns out, the “most important of all arts” was not that significant. The so-called advantages of cinema, such as its “mass appeal” or “effectiveness”, were only programme-based aspirations that granted film with mythical powers that had nothing in common with the processes that took place in the reality of Soviet Lithuania. The end of the creation of the Lithuanian film studio signified, on the one hand, the fact that the creation of the model of film industry in the periphery of the USSR had come to an end (production, distribution, exhibition); on the other hand, it marked the appropriation of the multi-stage system of film control. Having thoroughly analysed the modes of control expression, the research proposes a construct for this control system (“control pyramid”). Derinant tarptautinėje istoriografijoje susiformavusias kino istorijos teorijos prieigas su sovietmečio tyrinėjimais, empirinio tyrimo pagrindu darbe atliekama kino rodymo (kino rodymo tinklas), platinimo (kino repertuaras), kino gamybos ir kūrybos rekonstrukcija. Pagrindinis darbo tikslas – pristatyti kiną kaip įvairialypį sovietmečio fenomeną, apimantį sociokultūrinius, ideologinius, politinius, kūrybinius, technologinius, ekonominius, institucinius lygmenis. Tyrime identifikuoti ne tik sovietų kino politikos pagrindiniai tikslai, uždaviniai („iš viršaus“), bet ir apčiuopti programinių intencijų neįgyvendinimo atvejai, priežastys („iš apačios“). Pasirodo, „svarbiausias iš menų“ ne toks jau ir buvo svarbus. Menami kino privalumai – „masiškumas“, paveikumas – tebuvo programinė siekiamybė, kurioje kinui suteiktos mitinės galios nieko bendra neturėjusios su sovietų Lietuvos tikrovėje vykusiais procesais. Lietuvos kino studijos kūrimo pabaiga, viena vertus, ženklino kino industrijos modelio kūrimo baigtį SSRS periferijoje (gamina, platina, rodo), kita vertus, daugiapakopės filmų kontrolės sistemos perėmimą. Atlikus nuoseklią kontrolės raišką, tyrime pasiūlytas kontrolės sistemos vaizdinys („kontrolės piramidė“). Šis leido ne tik priartėti prie supratimo kokioje gamybinėje, kūrybinėje, ideologinėje tikrovėje kino filmų kūrimo procesas vyko, bet ir pirmą kartą identifikuoti užmanymus bei filmus, patyrusius skirtingas nuobaudas ir draudimus.

Cultural heritage objects’ protection has always been closely related to country‘s social, economic and political changes. These changes influence heritage protection techniques and methodology, also stipulate heritage objects’ selection and protection priorities. Brutal and dissonant defence heritage of XIX-XX centuries was already perceived and absorbed in many European countries started being recognized in Lithuania. Basis of analysis is defence objects, administrative buildings, chapels, infrastructure and other Kaunas Fortress elements, built in 1882–1915, which have influenced changes in Kaunas city and its surroundings as well as the further city development. Kaunas fortress is presented as complex of various purposes objects, which were closely related to each other and could not function separately. Thesis analyses two fortification heritage changes process lines, occurred since construction to the present: the first – Kaunas Fortress complex and its separate components visual relation to environment; the second – Fortress complex objects and users relationship and utilization changes. Thesis is focusing more on military complex appearance, its ideological context, also on the development of social, economic and political factors during construction and defence time. This directly influences the creation of high-quality story and cultural heritage animation. Dissertation emphasizes Kaunas Fortress complex evaluation and acknowledgment as the object of heritage... [to full text] Paveldo objektų apsauga visada buvo ir išlieka glaudžiai susijusi su šalies socialiniais, ekonominiais ir politiniais pokyčiais. Šie pokyčiai įtakoja paveldo saugojimo būdus ir metodiką bei sąlygoja paveldo objektų selekciją ir apsaugos prioritetus. Ypatingoje situacijoje atsiduria disonuojantis, brutalus, daugelyje Europos šalių jau įsisąmonintas ir įsisavintas, o Lietuvoje dar tik pradedamas pripažinti gynybinis XIX – XX a. sandūros paveldas. Disertacijos analizės pagrindas yra 1882–1915 m. pastatyti Kauno tvirtovės gynybiniai objektai, administraciniai pastatai, maldos namai, infrastruktūra ir kiti tvirtovės elementai, turėję įtakos Kauno miesto ir apylinkių kraštovaizdžio pokyčiams ir tolesnei miesto plėtrai. Kauno tvirtovė nagrinėta kaip įvairios paskirties objektų kompleksas, kur visi elementai buvo glaudžiai tarpusavyje susiję ir negalėjo funkcionuoti atskirai vieni nuo kitų. Darbe analizuotos dvi fortifikacijos paveldo kaitos proceso kryptys, vykusiosos nuo statybos pradžios iki šių dienų: pirmoji – Kauno tvirtovės komplekso bei atskirų jos komponentų vizualinis ryšys su aplinka; antroji – tvirtovės komplekso objektų ir naudotojų tarpusavio ryšys bei panaudos kaita. Dėmesys koncentruojamas į karinio komplekso atsiradimo ideologinį kontekstą bei socialinių, ekonominių, politinių veiksnių plėtotę jo statybos ir gynybos metu, kas tiesiogiai daro įtaką kokybiško pasakojimo kūrimui ir paveldo animavimui. Disertacijoje išryškintas Kauno tvirtovės komplekso įvertinimo ir... [toliau žr. visą tekstą]

Disertacijos objektas yra verčių formavimo procesai valstybinėje paveldosaugoje įpaveldinant kultūros palikimą. Jam atskleisti remiamasi palikimo vertinimo aspektu, kuris atsispindi senieną pripažįstant vertinga ir saugoma valstybės. Disertacijoje nagrinėjama kultūros paveldo apskaita sovietinėje ir posovietinėje Lietuvoje remiantis ne instituciniu, o vertybiniu modeliu. Atskleidžiami įpaveldinimo procesų metu vystančio verčių priskyrimo kultūros palikimo objektams metodai ir principai. Darbe konstatuojamas sovietmečiu paminklų apskaitoje vyravęs pragmatinis – parodomasis verčių formavimo principas savyje turintis ir sovietinės, ir lietuviškosios nacionalistinės ideologijos aspektų, parodomos jo sąsajos su Vakarų paminklosauga, atskleidžiami asociatyvinių/simbolinių, informacinių, estetinių bei ekonominių verčių formavimo ypatumai. Lietuvai atkūrus nepriklausomybę stebimas paveldo objektų „senėjimas“ atsisakant „neseno“ sovietmečio palikimo prioritetą teikiant kuo senesniam paveldui siekiant legitimuoti Lietuvos valstybingumą, taip pat amžių sankirtoje konstatuojama naujų – socialinių ir ekonominių – paveldo verčių aktualizavimo pradžia. The object of the research is the process of patrimonialisation in the state heritage protection by converting cultural material remains into heritage. To reveal it, the aspect of assessing monuments of the past is referred to which is expressed when material remains are recognised as valuable and protected by the state. The present paper synthesizes the history of Soviet and post-Soviet heritage records referring more to the principle of values than institutional principle. The methods and principles of attributing values to the objects of cultural heritage during the processes of patrimolisation are described. As the result the pragmatic approach to the formation of monument lists possessing including both Soviet or Lithuanian nationalistic ideological approach features was stated, as well as links to the Western heritage protection theoretical thought were shown and formation principles of associative/symbolic, informational, esthetical and economic were described. After regaining of independence the bigger attention to older, pre-Soviet objects of heritage to ensure legitimation of statehood was traced, and the rise of new – social and economical – cultural heritage values is observed.

The object of the research is the process of patrimonialisation in the state heritage protection by converting cultural material remains into heritage. To reveal it, the aspect of assessing monuments of the past is referred to which is expressed when material remains are recognised as valuable and protected by the state. The present paper synthesizes the history of Soviet and post-Soviet heritage records referring more to the principle of values than institutional principle. The methods and principles of attributing values to the objects of cultural heritage during the processes of patrimolisation are described. As the result the pragmatic approach to the formation of monument lists possessing including both Soviet or Lithuanian nationalistic ideological approach features was stated, as well as links to the Western heritage protection theoretical thought were shown and formation principles of associative/symbolic, informational, esthetical and economic were described. After regaining of independence the bigger attention to older, pre-Soviet objects of heritage to ensure legitimation of statehood was traced, and the rise of new – social and economical – cultural heritage values is observed. Disertacijos objektas yra verčių formavimo procesai valstybinėje paveldosaugoje įpaveldinant kultūros palikimą. Jam atskleisti remiamasi palikimo vertinimo aspektu, kuris atsispindi senieną pripažįstant vertinga ir saugoma valstybės. Disertacijoje nagrinėjama kultūros paveldo apskaita sovietinėje ir posovietinėje Lietuvoje remiantis ne instituciniu, o vertybiniu modeliu. Atskleidžiami įpaveldinimo procesų metu vystančio verčių priskyrimo kultūros palikimo objektams metodai ir principai. Darbe konstatuojamas sovietmečiu paminklų apskaitoje vyravęs pragmatinis – parodomasis verčių formavimo principas savyje turintis ir sovietinės, ir lietuviškosios nacionalistinės ideologijos aspektų, parodomos jo sąsajos su Vakarų paminklosauga, atskleidžiami asociatyvinių/simbolinių, informacinių, estetinių bei ekonominių verčių formavimo ypatumai. Lietuvai atkūrus nepriklausomybę stebimas paveldo objektų „senėjimas“ atsisakant „neseno“ sovietmečio palikimo prioritetą teikiant kuo senesniam paveldui siekiant legitimuoti Lietuvos valstybingumą, taip pat amžių sankirtoje konstatuojama naujų – socialinių ir ekonominių – paveldo verčių aktualizavimo pradžia.

Heritage protection during the Soviet period is a phenomenon which involves the origins of some aspects of contemporary Lithuanian heritage protection. This period itself is evaluated in Lithuanian historiography in a contradictory way: on the one hand, it is proud of the achievements and it envisages resistanced, on the other hand, it tells about the biggest damage to heritage and Moscow dictate. The following question arises: What part of the present heritage protection is of “Lithuanian” origin and what part is the “Soviet” one? It is the subject that is analyzed in the dissertation. The traditional perspective – historical practices of the heritage, principles, divisions of conceptions into “good” and “bad” is rejected; instead of this, the ideological origins of that time heritage protection and the expressions of the ideas themselves are analyzed. The main subject of the research is the idea which is understood in the broadest sense, comprising the spheres of theory and practice, official and unofficial concepts, realized and unrealized plans. It is stated that the freedom to choose the ideological models of the heritage protection during the Soviet period depended on the sphere of the heritage protection: some of them were completely monopolized by Moscow, the others had the conditional freedom. It determined heterogeneous ideological origins of that time Lithuanian heritage protection. The most favourable environment for the Lithuanian will and self to spread was the... [to full text] Sovietmečio paveldosauga yra reiškinys, kuriame glūdi kai kurių dabartinės Lietuvos paveldosaugos aspektų ištakos. Pati sovietmečio paveldosauga lietuviškoje istoriografijoje vertinama prieštaringai: viena vertus, didžiuojamasi pasiekimais ir įžvelgiama „konspiracinė rezistencija“, kita vertus, kalbama apie didžiausius paveldo nuostolius ir Maskvos diktatą. Kyla klausimas, kiek šios dabarties paveldosaugos ištakos yra „lietuviškos“, o kiek „sovietinės“ prigimties. Būtent tai ir nagrinėjama disertacijoje. Čia atsisakoma tradicinės perspektyvos – istorinių paveldosaugos praktikų, principų, sampratų dalijimo į „geras“ ir „blogas“; vietoj to gilinamasi į to meto paveldosaugos idėjines ištakas bei pačių idėjų raiškas. Idėja, pagrindinis šio tyrimo objektas, suprantama plačiausia prasme, apimant teorijos ir praktikos, oficialių ir neoficialių konceptų, realizuotų ir neįgyvendintų sumanymų sferas. Disertacijoje konstatuojama, kad paveldosaugos idėjinių modelių pasirinkimo laisvė sovietmečiu priklausė nuo paveldosaugos sferos: vienos jų buvo visiškai monopolizuotos Maskvos, kitoms suteikta sąlyginė laisvė. Tai lėmė to meto Lietuvos paveldosaugos idėjinių ištakų nevienalytiškumą. Palankiausia terpė lietuviškosios valios ar savasties skleidimuisi buvo paveldotvarkos elgsenos. Būtent čia laisviausiai galėjo reikštis tradiciniai (dar ikisovietiniais metais atsiradę) lietuvių tapatumo modeliai. Taip pat atskleidžiama, kad paveldosaugos idėjiniai modeliai Lietuvoje sovietmečiu gyvavo... [toliau žr. visą tekstą]

Disertacijoje remiantis šiuolaikinėmis paveldotvarkos teorijomis, ištyrinėjami ir įvertinami Lietuvos mūrinės architektūros paveldotvarkos darbai sovietmečiu. Siekiant atskleisti kuo platesnį kontekstą, nemažas dėmesys skiriamas Europos paveldotvarkos raidos bei tarptautinių dokumentų, reglamentuojančių paveldotvarkos darbus apžvalgai ir įvertinimui. Europiniame kontekste pateikiamas Lietuvoje sovietmečiu paskelbtų paveldotvarkos darbų metodikų vertinimas. Tyrinėjant sovietmečiu atliktus paveldotvarkos darbus išskiriami jų tipai: rekonstravimas, restauravimas: a) visiškas pastato restauravimas, b) dalinis pastato restauravimas: atkuriamas dažniausiai vieno, rečiau – kelių (bet ne visų) pastato fasadų vaizdas; c) fragmentinis restauravimas: viename ar keliuose fasaduose atidengiamos, restauruojamos ir eksponuojamos ankstyvųjų architektūros elementų kompozicijos. 3) konservavimas. Nustatyta, kad trūkstamų dalių atstatymas buvo atliekamas remiantis: a) mokslinių tyrimų informacija; b) mokslinių tyrimų inspiruotomis loginėmis interpretacijomis; c) mokslinių tyrimų ir kūrybinio interpretavimo deriniu; d) kūrybine interpretacija. Tyrimas parodė, kad sovietmečiu rekonstruojant ir restauruojant pastatus beveik visada stengtasi atkurti kuo senesnę architektūros kompoziciją neatsižvelgiant į informacijos trūkumą. Viena vertus, tai vertinama neigiamai, nes atkuriant pirminį architektūrinį vaizdą buvo suardyti autentiški XVIII a. pab. – XIX a. sluoksniai, tačiau, kita vertus... [toliau žr. visą tekstą] The present dissertation, building on the contemporary heritage conservation theories, presents the investigation and assessment of the Lithuanian heritage conservation work on masonry architecture during the Soviet period. Seeking to reveal the widest context possible, a fair amount of attention has been paid to the survey and assessment of the development of the European heritage conservation and international documents regulating heritage conservation work. Within the European context, the given study introduces the assessment of the methodologies for heritage conservation works announced in Lithuania during the period of Soviet times. Analysing the heritage conservation operations that were carried out at that time the following types of the given work have been distinguished: reconstruction, restoration: a) the complete restoration of a building; b) the partial restoration of a building: the prospect of, most frequently, one or, more rarely, several (but not of all) facades of a building is being recreated and c) fragmentary restoration: in one or several facades compositions of the early architectural elements are being exposed, restored and displayed; and 3) preservation. It has been established that the recreation of missing architectural parts was carried out using several methods: 1) information of scientific research; 2) logical interpretations inspired by scientific research; 3) the combination of scientific research and creative interpretation; and 4) creative... [to full text]

Heritage of Modern Architecture in Lithuania At any history stage the process of public activity leaves some material symbols, among which immovable items take an especially important place. The dominant part of them in the cities is formed from architecture. Conception of historical architecture is undergoing constant changes by encompassing still new decades and styles. One of the “youngest” styles, which is gradually coming to be perceived as part of historical heritage, is modernism. The majority of the European countries have already refrained from questioning the historicity of this style. This stimulates us focusing also on the heritage of Lithuania’s modern architecture and analysing what was achieved and what could be preserved as part of the former era. The research subject-matter deals with modern architecture as part of the heritage of Lithuania’s architecture in the 20th century. Given the conditions of independent Lithuania, interwar and post-war modern architecture and separate objects of it receive ambiguous evaluations, a number of highly relevant and severe problems of heritage conservation and heritage documentation nature occur, which require urgent and reasoned answers. Fundamental problem lies in the attitude of conceptual character, namely whether this heritage is by and large recognized as the object of Lithuanian cultural heritage. Further destiny of modern architecture heritage depends on the latter attitude. It should be emphasised that the greatest part of architecturological research focused on the classical history periods of Lithuanian architecture and failed to go beyond the boundary of the 20th century. Alongside with this, the relevant problem of determining the criteria of differential value of modern architecture occurs. This issue is of really complex character because it must follow objectivity requirements, while our period of time relates to various interests, such as economic, political, etc. On the basis of the possible values it would be possible to determine and classify the valuables of modern architecture and resolve yet another major problem, i.e. integrate such valuables into the system of heritage documentation. The present research aims at finding out certain most important protection problems arising with regard to the Lithuanian modern architecture and determining the possibilities for its preservation. This research overviews the particularities of the development of 20th century architecture; deals with the complex and ambiguous attitude towards the heritage of Lithuanian modern architecture and the reasons of particular situation; singles out the examples of Lithuanian modern architecture and presents the most characteristic values of such buildings. After the research was carried out certain conclusions were drawn. Firstly, it should be stated that European movements and directions of modern architecture illustrate the social and economic situation of that time and demonstrate the creative architectural potential of those times; therefore, searching for one’s own place in the overall architectural context, we must perceive and value the heritage of every historical stratum. Architecture of the 20th century shall not be an exception. Secondly, it should be stressed that a marked part of heritage of Lithuanian architecture of the 20th century is loosing its attractiveness due to various economic, cultural and political reasons and, should the legal acts fail to protect it, it is likely to disappear rapidly. The given situation may be altered by an active position of contemporary society. Third, it shall be asserted that 20th century architecture is not an ordinary heritage object; attitude towards such heritage must be more flexible in order to adjust it to the needs of a modern city. The given situation may be altered by an active position of contemporary society.

Notorious removal of the „Bronze soldier“ monument in Estonia in 2007 and serious political tensions that followed warned the neighbouring states that cultural heritage issues may spontaneously become a cause for an international conflict. Those events inspired the main question of this research work – is Lithuanian heritage preservation service able to control tensions that heritage causes? The object of research: problems of policy, management, preservation and spread of dissonant heritage in Kaunas. The purpose of research: conceptualization of problems caused by dissonant heritage in Kaunas and setting forth practical recommendations. The goals of research: 1. Conceptualization of heritage preservation problems caused by Kaunas fortress, Jewish and soviet legacies; 2. Displaying social opinion on the issues of Kaunas dissonant heritage by means of the social research method; 3. Defining of Kaunas museums attitude towards the dissonant heritage; 4. Verification of the „time distance“ contribution role in the management of heritage-based conflicts; 5. Setting forth practical recommendations on the heritage–preservation policy. The thesis combines several integrated researches: case studies, social- and resource research. The analysis ellucidates the sharpest aspects of the dissonant heritage problem in Kaunas. Kaunas fortress, built by Russian empire, is a huge complex of defensive, administrative and household buildings and systems. After the I world war the complex lost its significance in defensive affairs but some parts of the complex were still in use for various purposes. After the restoration of state independence in 1990 Kaunas fortress lost almost any function. The cultural heritage status of the complex caused isolation and limited potential of revitalizing the fortress. Soon the remains of Kaunas fortress become ground for social and economic tensions. The research revealed that despite its Russian origin Kaunas fortress is not causing a political dissonance. Another huge problem of Kaunas heritage-preservation is soviet legacy. This type of legacy is unavoidably bound with politics and causes serious tensions between different groups of society. The notification of a cultural heritage status for a soviet legacy object is always followed by controversies. The research revealed that society has a very contradictory attitude towards the soviet heritage. The third complex of sharpest dissonant heritage problems is Jewish legacy issues. This type of dissonant is closely linked to complicated past of Jewish and Lithuanian relations, holocaust and anti-Semitism. The research revealed that Lithuanian society has a very negative attitude towards the Jewish cultural heritage-preservation. This fact implies that Kaunas’ heritage preservation service officials must work on the better integration of the Jewish past into common historic consciousness. The research conceptualized the dissonant heritage problem in Kaunas and defined its sharpest aspects. The most conflicts are deep and long-termed. In order to solve them a complex of policies should be used. At the end of the thesis the practical recommendations on the heritage–preservation policy were set. The main direction of heritage-preservation service should be moving towards the integration of different social, political and ethnical group heritages. The second policy - moving towards the better heritage communication. The third one – a use of sustainable development principles.

In 2009 Vilnius is publicized as European Cultural capital. It means that our country lives an active cultural life. It’s like a present to us symbolizing that Lithuanians understand their history, culture and heritage; that they know how to save and use it for esthetical, financial, cultural or other purposes. Object of this work – technical heritage, specifically street lighting and water supply equipment in Vilnius. This is a range of small technical heritage directly related with domestic daily life that means no attitude for saving it like a worth thing. It’s not only nowadays problem. Domestic life attributes like lanterns, street lamps, water pumps, water towers, water wells and etc. has never been saved as cultural heritage as it was used constantly. Only becoming history known by the archival documents and iconography, domestic equipment sometimes attains attention. Paradoxical, but only when we have almost nothing left, we try to save it. At the moment we have 12 Vilnius water supply and street lighting objects written into Cultural heritage register – Verkiai manor lantern poles, 1 water pump, 4 water towers, 5 water mills and Vingriai spring reservoir. It’s a little number of technical heritage left, but it shows that we do remember it and somehow try to keep it for future. At the moment all the water towers, water pump and Pučkoriai water mills are saved only by not letting them to demolish. Today these objects give no any information. Better situation is with the water mills. Most of them are specialized for different purposes. Different situation today we have with historical street lighting as a characteristic part of Vilnius old town. Soviet period illuminators are gradually replaced with “historic” ones (seeming XIX – XX centuries). It helps to create cozy historic atmosphere but at the same time very often confronts with existing old architectural styles. For example: ornate gas lanterns can’t interflow with flat gothic walls. Street lighting equipment changed with the alternation of fuel, not by change of architecture styles. Street lighting history in Vilnius begins in 1817, by the first archival document, explaining about these days oil lighting problems. Second very important date in lighting history – 1864. It was a year when ornate gas lighting by building gas factory has com to the city. Street lighting equipment changed a lot not only by fuel, but by decorative details and all over metal using in construction. Only at the 1903 when power station was build and electricity use outrivaled other fuels lighting system has changed a lot till nowadays. Luminaries on high metal poles were used in spite of lanterns, till the 1968, when the idea to use historic street lighting become to reality. Almost 400 hundred years due to favourable relief of the location, the spring water flowed through wooden pipes to the reservoirs and ponds designated for public use, also to some houses of the noble. The first evidence about the use of spring water for water supply in Vilnius goes back to year 1501, when Alexander, the Grand Duke of Lithuania, gave as present to the Dominican monks the Vingriai springs that were the property of the monks by the middle of the 19th century. With development of the city and constant lack of water in the middle of the 19th century municipal authorities started considering the need of centralised water suply and construction of new waterworks. Water supply was based on the artesian well and was designed for the population of 350000. Because of lack of the money, only in 1913-1914, water supply network of more than 30 km was constructed and the pump house completed. 1916 – is to be considered the beginning of the centralized water supply of Vilnius. A part of old Vilnius water supply system is alive today and represents today by the frequent use of water pumps not only for domestic use but even as decorative element

Fotografijos paveldo Lietuvoje problematika yra labai mažai analizuota, apsiribojanti keliais straipsniais, kuriuose iškeliamos lokalios problemos, tačiau nesigilinama į jų priežastis. Tad šio darbo tikslas – kaip tik nustatyti fotografijos vietą paveldo sistemoje ir išryškinti jo specifiką bei aktualias problemas. Pagrindiniai tyrimo šaltiniai – Lietuvos Respublikos teisės aktai ir konkrečios fotografijos saugyklos. Tyrimo metu buvo analizuojama Lietuvos teisinė bazė, kurioje ieškota tiek tipinių, tiek individualių fotografiją reglamentuojančių nuostatų. Tuo pačiu buvo įvertinta ir pagrindinių paveldo saugyklų indėlis saugant fotografinius atvaizdus. The topic of Lithuania’s photography is least analyzed. There were published only few articles which rose local problems though didn’t solve them. The point of this work is to show photography’s role in the system of heritage protection and to highlight its particularity and actual problems. The main sources of this research are acts of Lithuanian Republic and national stores of photography. During the investigation there was analyzed the basis of Lithuania’s law related to photography’s regulation. Besides that was assessed stores’ contribution toward protection of the photographic images.

Paveldotvarkos darbai, lėmę autentiškų interjerų (ne)išlikimą, buvo pradėti sovietmečiu. Būtent šiuo laikotarpiu užsimezgė ir susiformavo istorinių pastatų interjero tvarkymo metodika ir darbų vykdymo praktika. Tačiau vieninga paveldo objektų tvarkymo metodika nebuvo sukurta; istoriniai pastatai (interjerai) buvo tvarkomi labai skirtingai ir tai patvirtina išlikę tvarkymo darbų pavyzdžiai. Neturint vieningos „paminklinių interjerų“ tyrimo, vertinimo ir tvarkymo metodikos, iškilo esminis – interjerų išsaugojimo – klausimas. Iki šiol Lietuvoje nebuvo analizuota, kaip istoriniuose interjeruose išsaugotos jų vertingosios savybės, tvarkymo kryptis ir kaip laikomasi mokslinės metodikos tvarkymo principų. Tad šiame darbe atliekamas tyrimas skiriamas aktualiai nūdienos problemai: aptarti istorinių pastatų interjerų tvarkymo ištakas, tendencijas ir aplinkybes, lėmusiais interjerų tvarkymo sprendimus. Darbo tyrimo objektas buvo sovietmečiu restauruoti, atkurti ir pritaikyti, iki šių dienų išlikę interjerai istoriniuose pastatuose. Pagrindinis darbo tikslas buvo nustatyti 1960-1990 m. Vilniaus istoriniuose pastatuose vykdytų interjerų atkūrimo ir panaudos tendencijas, bei jų problematiką. Šiam tikslui pasiekti buvo apžvelgtos aplinkybės – teisine, administracine sistemą, sociokultūrinius aspektus – lėmusios interjerų istoriniuose pastatuose tvarkymą, atskleista intereso istoriniams interjerams susiformavimo raidą, atskleista verčių svarba tvarkymo metodikai, nustatytos paveldotvarkos... [toliau žr. visą tekstą] The management of interiors of historical buildings beginning to develop in soviet times. During the soviet period the treatment methodology of historical buildings, including interiors, was formed. But the problem is that there wasn’t formed a uniform treatment methodology of interior of historical buildings. It is proved by the examples seen in our days as result of treatment with interiors. As there is not settled united treatment methodology of historical buildings – the problem appears on how to protect the interiors of historical buildings? Till now, there was no any scientific work about the management of interiors of historical buildings written. This master thesis is intended to describe the problems of management of historical buildings (interiors) which is related to our days. The subject of this work is interiors of historical buildings which where treated in soviet times. The main goal of this work is to describe the interiors of historical buildings in Vilnius (1960-1990), the problems of restoration and use. Further more, to determine the tendency how the function of interiors was changing and on what the way of treatment with interior depended.

According to the French ethnologist, Daniel Fabre, a historic monument is one of the most obvious manifestations that landed itself to maintaining historicism throughout Western Europe in recent centuries. Today this idea becomes object of theoretical debates. The main purpose of this work is to study and evaluate the modern theoretical debate, when heterogenic concept ,,heritage” is universally accepted and set in, about genesis of historic monument idea, development and the crisis. Also, it is necessarily to go deep into opportunity of actualization and new alternatives. There are two perspectives of inquiring the genesis of historic monument. The works on the traditional progressive perspective tend to present a classic image of historic monument, i.e. a his¬toric monument is exhibited as an idea of modernity, with big attention to juridical aspects. One of the most substantial contemporary scientists representing the classic conception is André Chastel, Françoise Choay, Dominique Poulot. As an alternative to this monoperspective theory emerges an innovative interpretation of the modernism of historic mo¬nument developed by contemporary French ethnologists and anthropologists - Daniel Fabre, Jean-Michel Leniaud, Olivier Poisson. This work presents and analyses dif¬ferent visions of the development of his¬toric monument. It aims at attempting to reflect the presented positions and to evaluate the possibilities and challenges of a presumable multi-perspective model. The paradigmical crisis of historic monument analyzed in this work from ideological, monumentality and crisis of the historical value dimensions. The measure of this crisis is taken in comparison with heritage conception, which goes away of gnoseology borders and becomes overly heterogenic. This work aims at attempting to go deeper in to possibilities of actualization of historic monument and the alternatives. As the basic alternative emerges an innovative Pierre Nora ,,Realms of Memory” conception. The third part of this work includes analysis of historic monument conception in soviet Lithuania. The frame of reference was determined of entrenchment historic monument as juridical category. This research evaluates the distinction between soviet and Western Europe concepts of historic monument and dynamic of that mutation. Analyzing the list of soviet monument, the main question of that part in this work is the ideological role of historic monument as the tool of political power legitimation. Studying relation between official policy of historic monuments and latentical factors, which determined the survival of some important for Lithuanian history monuments, the basic goal is to put special emphasis on relations with more or less ideologized monuments, with reference to interviews of heritage personnel and archival data. In final touches the work takes notice on Independent Lithuanian tendencies, considering did the establishment of the new concepts qualitatively determined the changes of the earlier concept of historic monument.